1. family and parenting
2. children

What IS a script supervisor?
If you are coming here to learn why you need a script supervisor for your production, you're probably wondering, 'how much
trouble can a 100 or so pages get into?'
The presence of a script supervisor is required on a movie set in
order to assure the continuous flow of a film, the script supervisor
has to make sure that scenes follow each other in an
understandable and smooth way especially since almost every film
is shot out of sequence. A script supervisor is there to cover the
director's, producer's and editor's arses.
Incongruities in detail, movement, dialogue, jarring jump cuts,
changes in lighting intensity or sound levels need to be avoided.
The purpose is to make the audience unaware of the cutting of the
film from shot to shot and of the techniques used to move the story
along. A scene must follow another without any sudden breaks so
that the viewer gets into a more realistic contact with the narrative
and its characters. Good continuity and uninterrupted action come
from careful planning and focus.
Mother Hen
Most consider the role of the script supervisor as the worst on the
set because a major aspect of the job is to make sure that
everybody else does theirs. In general, people don't like to be
watched or told how to perform their tasks. For example, on a
breakdown chart, the supervisor describes, scene-by-scene, all the
props that are needed during filming and makes sure they are all
placed and applied correctly. But on the set, there is also a property master whose only duty is to be in charge of the objects
and of their use. Why should anyone interfere with his/her department?
Connecting the Dots
Since a film is not shot in sequence, a scene where the two main actors drive to a bar could be shot on the first day of
production, while the following scene of them getting out of the car can be completed three weeks later. It is the continuity
clerk's duty to see that the hair, makeup, costumes and even the lighting all match in those two actions. The supervisor is
going to give directions to the hairdresser or the costume designer to have each detail appear the same.
The best way to remember how everything was the first time around is to take pictures, either instant or digital photos. The
ideal time to have the stills taken is after the first take. Set particulars are often changed up until the very moment of filming.
Before a director allows the cameras to run, he or she may require a rehearsal of the action to allow the technicians to check
their angles, the quality of light and the actors blocking. Any change must be noted. And if you are an independent
filmmaker of the mindset that you will remember and save a few bucks, trust me... those 100 or so pages have a mind of their
own - even if you are a hyphenate writer.
The photos go along with written notes and forms. Most 'scripties' as they are called create their own forms, I find each
production requires a bit of customization. They can be digital, but unless you're on a soundstage with a locked down seat,
or a really awesome cart to call your own, the reality is handwritten is still the most practical way to go for the actual script
and shooting notes, the daily summaries can be digital to be transmitted easily. The goal is to extract all the relevant
information from the final script that is wanted on the production breakdown board. Although it may vary with each film,
some basic data is always required: the scene number, the location, a brief description of the action, time of day, estimated
shooting hours, number of script pages, cast, extras, props, costumes and any other information that will affect scheduling.
Whether a scene is shot in an interior or exterior location is important to know to determine what type of lighting is required
and even what kind of 'film' must be used. This logging process can be completed during pre-production, and the supervisor
can start it as late as the day before principal photography begins. Regardless of whether the scripty is brought on to do the
script breakdown in conjunction with the director (the way the big boys play) they will need at least one day of pre-pro,
and one day of wrap-up after shooting to do their job.
Ideally, if you want to play with the big boys, a scripty worth anything will come in in pre-pro and help break down the
script with the DP and Director into a shooting script. Then the scripty supplies the producers with accurate page, scene and
set-up counts, so when the daily reports come in - the producer can see how many pages, set-ups and scenes were shot and
if we are on time and budget, which makes everyone more comfortable (true story).
The Devil Is in the Details
On the set, the scripty will also fill in continuity sheets. These are additional forms that will assist the editor in matching cuts
and assembling the film. They ask for specific technical information, such as the take number of each scene, the
magazine/camera roll or data card, the lens, the f/stop and the filter that are being employed. There is also the need to keep
track of the sound and the action running times, so a stopwatch is a fundamental prop for the script supervisor.
Actions can be described by a simple catchword or by a brief sentence, such as "red plane flies by tower." Camera directions
and shot sizes have to be recorded, too. In order to do that, it is important to know common abbreviations used most
frequently in continuity scripts. For example, WA means "wide angle," MCU "medium close-up," and CRBG stands for
"camera right background." Although many other abbreviations for the same terms are possible, these are the most popular and
can be found in any film production textbook. Personally, I like to provide a thumbnail sketch with the slate #'s and
descriptions.
The completed continuity sheets are given to the editor during post-production. Each filmed sequence is arranged in order to
achieve a sense of wholeness and logic. All the notes taken by the supervisor are crucial to achieving this goal, and the
director relies heavily on them. During actual filming, the entire project is in her hands, but in post-production, the director
has to work with what has already been shot, and it should be error-free. It's too late to make any corrections when filming is
over.
Bad continuity jobs can be seen in films every day. Some are more obvious than others. A cigarette can be half smoked in
one take but just lit in another. Smoking, drinking and eating are actions that require particular attention because they are
continuous and difficult to cut and match.
To summarize, the script supervisor is responsible for keeping a record of the particulars of each completed shot, and her
notes are fundamental to the editing process. If you are not extremely detail-oriented or if you don’t work well under
pressure, script supervising is not for you. If you think you can do it, grab your stopwatch and prepare your forms. Also be
prepared to work very long hours, on-set the script supervisor doesn't usually get a break while a scene is being lit or dressed
or rehearsed. They are catching up on paperwork or informing the crew of mismatched lighting, props, helping the actors with
their lines or letting the office know if we are on schedule or if there is a problem.
All in all it is a fantastic way to learn every aspect of film production - because on-set, you're responsible for it! Or as I like
to say, 'I can't make a mistake, because if I do, it's etched in ektachrome.'
PRE-PRODUCTION
• Script Breakdown
• Scene Count
• Page Count
• Continuity report
• Wardrobe and Prop summary
• Report delivery
• DP shot list
• Reading notes
PRODUCTION
• Shot List
• DP cameras
• 2nd unit
• Set shots
• Line reading
• Rehearsals
• Slate
• Stopwatch
• Video village
• Shot Notes
• Daily reports
POST PRODUCTION
• Turn in book:
• Original Marked up script.
• Chronological scene report list.
• Production totals
If scene keeps
rolling it is an
running pick up or
RPU
Pages/
Scenes
are
counted in
1/8 page
increments
Inserts are
separate scenes
and noted as 1/8
and insert on
scene breakdown
sheet
Script software will do page
counts - but it is always
more accurate to break it
down by hand. Especially in
revisions where entire
pages will be added for
small scenes
PAGE COUNT
TITLE:
SC #
DATE:
COUNT
SC #
COUNT
SC #
FULL PAGES:
PART PAGES:
INSERTS:
TOTAL:
COUNT
SCENE COUNT
TITLE:
SC # / DESCRIPTION
STOCK:
DATE:
INSERTS:
VFX(100%):
VFX PARTIAL:
WARDROBE OUTLINE
TITLE:
TIME BRKDWN:
DIRECTOR:
Scene #’s
DATE:
Sets
Date Shot
CHARACTERS
CONTINUITY SYNOPSIS / ONE LINE
TITLE:
PROD. #
DIRECTOR:
DATE:
SC. #’S
SET
ONE LINE DESCRIPTION
D/N PGS.
CHARACTERS
DAILY PROGRESS TOTALS
TITLE:
PROD. #
DIRECTOR:
DATE:
SHOOT / CALL
WORK DAY
1ST SHOT
SC’S COVERED
LUNCH
WILD TRACKS
1ST SHOT
RETAKES
DINNER
REMARKS
1 SHOT
ST
CAM. WRAP
SND. WRAP
Scene
Completed Scenes
PG. Count
Timing
Total Pages:
Scene
Total Time:
Scenes
Total Script
Added
Deleted
New Total
Shot Prior
Shot Today
To Date
To Do
Setups
Partial Scenes
PG. Count
Timing
Setups
Total Setups:
Pages
Minutes
Setups
SCRIPT SUPER DAILY EDITOR LOG
TITLE:
DAY OF FILMING:
DAY OF WEEK:
PRODUCTION CO:
DIRECTOR:
CAMERA:
SET(S)
WEATHER:
SetUp Description
SCENE
SCENE
SCENE
SCENE
OTHER NOTES:
PAGE
OF
TLATE:
CREW CALL:
FIRST SHOT:
LUNCH:
FIRST SHOT:
DINNER:
FIRST SHOT:
WRAP:
OF
CR
SR
Print
Slate/Notes
Time code/Lens
SCRIPT SUPER EDITOR SHOT DETAIL LOG
PAGE
TITLE:
PRODUCTION CO:
DIRECTOR:
CAMERA:
SCENES COVERED:
REMARKS:
Time
Code
Roll
Scene
TLATE:
CTOF DAYS
Take
P
Snd
Time
Lens
Shot
Desc
Comments
OF
SCRIPT SUPER EDITOR SHOT DETAIL LOG
Time
Code
Roll
Scene
Take
P
Snd
Time
-
32
11a
11ab
11da
11b
11ba
11bb
11bc
11d
12
13
14
14a
14b
5/10
2/3
2
3
1/2
2
7
1/4
1
1
1
1
11
22.77
14.20
26.16
25.19
29.03
35.40
1.24.13
24.69
34.86
2.13.34
1.28.17
15
16
17
17a
18
18a
18b
18c
18d
19/20
19a
19b
21
21a
22
22a
23
23a
23b
3
4
5
1
2
2
3
1
1
4
2/5
4
5
1
4
1
3
2
3
5
7
5
12
26
35
26
16
12
16
16
29
15
5
10
14
7
7
9
6
12.11
8.73
21.33
1.53.57
2.03.90
1.48.96
51.13
1.06.07
43.21
25.43
22.20
24.96
34.08
2.15.23
42.37
41.09
46.81
Lens
PAGE 2 OF11
Shot
Desc
m/sh R&R
mos
Ryan m/sh
M 2 sh
Cu ryan
roz
score
2 shot
Jen @ door
Cu door
e/w/s
3 shot
Cu hand
Ots to Jen
m/cu jen
2 shot
insert
2 sh
2 sh
Cu jen
insert
insert
w/s pan
m/sh
2 sh
m/sh
cu
m/sh
e/cu
w/s
cu
Rev. on
Comments
At darts see notes
Series no details cu on bullseye
Before he leaves see notes
foosball
Foosball see notes
Foosball see notes
Foosball (series) x4
At table see notes
fantasy
No details MOS
Series (no dial) x3
Series (x6)
Series (x6)
See notes
w/ roz
See notes
Micro MOS no details
Roz jenny
Diff action of series as tk 3 see notes
See notes
Ashtray mos
Phone mos
See notes
Roz and jen
Brice cut around hat logo
Series on drawer no details
brice
Series on smoke/jen
Follows action see notes
Roz h/h
Brice h/h
SCRIPT SUPER EDITOR SHOT DETAIL LOG
Time
Code
Roll
Scene
Take
P
Snd
Time
16
15
24
25
25a
25b
25c
26
27
28a
28
28a
28b
28c
29b
29e
29f
29a
29c
29d
30
31
31a
32
32a
32b
34
35
36
36a
36b
37b
37c
37a
38
38a
6/7
3
2
1
3
4
7
3/4
3
2
2
2
2
2
2
3
6
3
1
2
1
1
4
3
2
2
3
4
1
2
7
6
16.91
23.22
43.60
1.14.16
19.75
18.00
28.37
26.78
34.03
29.90
26.97
26.47
40.53
2.35.11
25.69
26.16
21.13
40.46
23.51
38.82
58.76
28.40
19.87
1.11.66
38.93
38.31
19.41
16.11
10.00.00
54.93
33.72
58.58
22
25
22
25
2
7
16
24
7
12
7
2
5
8
9
8
9
2
3
7
9
3
5
3
2
3
1
Lens
PAGE 3 OF11
Shot
Desc
Comments
W to M
w/s
cu
m/cu
m/sh
2 sh
m/cu
wide
wide
Up/sh
Cu/ots
Cu mike
wide
rpu
texting
inserts
cu
series
m/sh
m/sh
cu
m/profile
Cu prof.
Roz enters (prop not great)
Roz upstairs (none great)
Roz series (x2)
Bag toss insert (x8 series)
On mike
Jen / brice
Roz cries
Jenny’s leg in door see notes
Brice enters
On brice
Move off roz to mike
For last line of dial
On couch/floor
Cu on phone use #4 in series
Couch guy
On table- mos
Floor to chair
Mos cu phone text message
See notes covers surrounding sc’s
Series x3 covers 33
u/sh brice
Series no time
Series no time
m/sh
m/cu
Retake misslate
m/oversh
¾ cu
wide
series
Insert cu
w/sh
Series cu
See notes
Insert # 5 best
Phone no slate
See notes
Shoes See notes
SCRIPT SUPER EDITOR SHOT DETAIL LOG
Time
Code
Roll
Scene
Take
P
Snd
Time
5
3
38b
43a
43b
44a
44b
44c
44d
45
45a
45c
45b
45e
45f
45g
45h
45j
45k
45L
45M
45N
46
47a
48a
48b
48c
49
50
51
53
54
54a
54b/56
54c/58
55
4
2
2
3
2
4
1
2
3
3
2
1
1
1
2
4
3
3
7
4
4
5
4
3
2
1
1
2
2
2
3
2
31.74
20.45
20.74
16.37
2
3
7
5
7
2
2
3
3
3
3.23.86
10.44
1.40.77
1.25.28
1.00.30
14.67
32.36
19.30
57.72
27.59
9.15
10.65
10.30
11.10
9.03
12.20
40.83
43.50
37.18
14.70
22.47
14.89
9.95
12.50
11.03
22.36
43.68
18.95
Lens
PAGE 4
Shot
Desc
Comments
Clock cu
w/ mike
Cu mike
wide
Rev cu
inserts
m/cu
w/sh
m/cu
m/sh
Up/sh
w/sh
cu
w/sh
cu
cu
cu
cu
2 sh
2 sh
w/sh
3 sh
m/w/s
insert
2 sh
Angle dn
m/cu
¾ cu
m/cu
m/ 2 sh
On bed
M 2 sh
cu
Mos series
See notes
From above
OF 11
See notes
Series mos x5
Guy on floor ** see last page
Sound not great
mike
To brice door
couch
cleaning
Inserts cleaning rpu see notes
ashtray
Insert pot
bong
Cut around boom
entry
Fridge series #7 best
From stairs 2 shot
See notes goes into 53
See notes on coverage of scenes
Rpu as marked #2 best
SCRIPT SUPER EDITOR SHOT DETAIL LOG
Time
Code
Roll
Scene
Take
P
Snd
Time
7
57
59
60
61
62
63
64
65
66
67
68
69
70
71
71a
72
72a
73a
73
80
80a
80b
80c
8/10
2
4
3
4
1
3
2
3
2
1
3
1
3
3/4
2
4
3
1
2
1
1
2
3
16.44
15.34
39.71
13.87
15.15
43.41
21.86
7.33
5.03
12.45
1.15.17
21.05
57.69
1.01.36
46.95
31.15
49.63
15.93
1.12.67
2.19.52
2.20.69
2.05.23
2.37.16
24
81
4
9
10.40
pan
See notes
5
83
83a
83b
84
83c
84a
84b
86/88
86a
86b
4
6
4/5
7
2/3
3/4
1/2/3
4
4
4/5
3
1.49.40
29.61
37.09
34.81
2.00.17
44.16
3.29.78
2.58.17
1.27.23
m/w/s
2 sh
u/sh
w/s
2 s.ups
m/upsh
3 series
w/sh
w/sh
m/sh
See notes rpu
5
7
5
7
6
7
14
7
14
4
25
4
6
8
3
3
3
3
3
3
6
3
6
2
9
2
4
Lens
PAGE 5
Shot
Desc
Comments
M 2 sh
m/cu roz
m/cu
m/cu
m/cu
cu
m/cu
m/cu
m/2 sh
2 sh
h/sh
2 sh
2 sh
M 2 sh
Cu 3/4
3 sh
blindfold
OF_11
Series later better
Tighter shot
Cut around her shorts
Series static x6 last best
Wild sound at tail
Series last best (x6)
See notes
Rev. m/cu
Roz pov
m/s
3 sh
tighter
cu
Series x5
Covers 82
Same angle as 80
roz
Rev Ots to
lauren
Brice see notes
See notes
See notes
Inserts of each lead w/ coke
See notes
Next hand
See notes
SCRIPT SUPER EDITOR SHOT DETAIL LOG
Time
Code
OF_11_
Roll
Scene
Take
P
Snd
Time
9
86c
86d
86e
86f
86g
86h
86j
86k
3
1
2
1
1
1
1
1
4
8.19.02
10.36.21
18.72
7.19
-
86L
86m
87
89
90
90a
90b
90c
90d
1
1
1
1
6
2
3
2
1
17
12
91
93
2
5
7
5
37.28
55.47
h/sh
10
94
94a
95
96
97
97a
97b
5
4
54.32
wide
1
3
3/4
4
2/3
5
4
38.92
49.85
1.46.95
2.20.30
50.64
2 sh
wide
w/sh
3 sh
Ots to
mike
See notes
97c
97d
98
99
99a
99b
2
?
1
6
1
1
19.17
master
m/sh
m/cu
m/wide
cu
Pan cu
Mos of cards series
Mike stands see notes
Series x4 – 4 best
Reaction from table
For dial series
series
12
13
9
13
10
9
13
10
5
5
4
5
4
1.13.90
42+
1.19.31
1.20.07
56.67
44.47
1.22.79
33.97
1.17.37
1.41.01
Lens
PAGE 6
Shot
Desc
Comments
h/sh
Rev h/sh
chips
All in
cu
cu
Series
series
Rev brice
Brice rpu as marked
Mike rpu as marked
Brice dial series
More cu of brice action series
Table- mos see notes
More table spread MOS
X3 mos
X3 mos (3 good)
Series of inserts on pocket cam
follow none slated (4 shots – mos)
‘aces’ mos
1- pan 2- static see notes
Sweep across kitch. MOS
Night series 3x
See notes covers 92 more of 90
Roz dial no time rpu as marked
rpu as marked
3 sh
series
Mos insert on hands/cards
series
series
series
2 sh
w/4 sh
On mike
m/cu down
sh
Series x2
Rpu as marked
tracking
See notes for cuts and cu inserts
Series x3
At table see notes
SCRIPT SUPER EDITOR SHOT DETAIL LOG
Time
Code
Roll
Scene
Take
P
Snd
Time
13
14
17
100
101a
101b
101ba
101bb
102
102a
102b
102c
102d
102e
103
104
106a
106aa
106ab
106b
106ba
106bb
106bc
106bd
107
107a
108
108a
109
109a
112
112a
112b
112c
114
114c
114d
2
1/2
4
3
3
3
4
1
3
3
3/4
1/3
3
2
2
1/3
1/2
2
1/5
2
2
2
2
1
5
6
7
49.03
11.41
54.89
44.20
38.37
27.01
18.80
58.17
31.49
24.63
41.27
31.63
1.47.86
1.59.55
1.46.31
2.04.07
2.01.47
1.37.76
1.17.84
1.26.31
6.77
25.20
24.49
24.67
14
7
18
14
5
6
16
35
14
6
3
7
6
3
7
13
2
1
1
2
1
6
1
2
6
1.13.76
1.27.16
1.53.18
1.11.48
1.29.94
1.38.35
1.34.77
1.59.01
Lens
PAGE 7 OF_11_
Shot
Desc
Comments
Ext night
2 sh
2 sh
2 sh series x3
Plus wild sound
Ots to roz
Dial on guy not great
Rpu cut around tail + head
Wild sound on brice at tail
Ann drops in
Ots to guy
wide
m/cu
cu
On dog
Insert controller series x3 (train horns)
Mos no slate or time
3/4 to roz
Rev ang
tracking
M 2/sh
m/2 sh
Cu jen
Cu roz
w/s
2 sh
On jen
cu
W roz see notes
See notes
Over couch see notes
Rpu as marked
Rpu/BOOM as marked
Rev on jen
Mower noise thruout
reaction
On purse
Cu roz
m/sh
m/sh jen
w/s
Cu kiss
e/w/s
W to Mcu
m/sh
Wide/up
Cu kiss
wide
w/3sh
m/sh
cu
No dial series x6
covers 113 series as they get closer
Series x5
Series x3
Series x2 #2 good
On curb series no dial
See notes
Parker rpu as marked
SCRIPT SUPER EDITOR SHOT DETAIL LOG
Time
Code
Roll
Scene
Take
P
Snd
Time
12
114e
114b
114ba
114bb
114bc
114aa
114ab
114ac
114ad
115
116
117
120
121
121a
124
127d
127
127a
127b
127c
127e
128
129
129a
1
2
1
5
15.90
11,87
31.86
129b
129c
130b
130ba
131
131a
132
132a
132b
2
3
2/3
3
1
4
1
2
1
5
12
16
12
29
17
23
17
23
18
1
4
2
2
1+
3
4
2
5
3
2/4
4
1
2
1
1
6
3/5
1
5
7
5
9
7
9
7
9
7
9.99
14.93
7.39
11.84
40.61
24.28
41.13
50.12
46.95
16.18
34.50
1.12.59
1.08.86
1.01
18.32
6.63
18.69
28.93
18.29
42.30
29.05
16.89
17.66
1.55.69
1.14.57
16.16
22.70
Lens
PAGE 8 OF_11_
Shot
Desc
M @ stairs
Comments
2 sh
m/split
cu
m/cu
2 sh
2 sh
m/sh
Parker/lee
Screen effect series x2
Lee series x3
Parker series x3
Split screen
Split screen
m/cu mike
m/wide
m/w/sh
m/3 sh
wide
m/wide
Cu roz
m/w/s
2 sh
Cu mike
Cu roz
cu
cu
Side shot
M 3 sh
Cu
finger
3/4
Rev cu
wide
cu
m/cu
Ots to
m/2 sh
Cu roz
Cu mike
See notes on takes
Covers 118
Ext by. Series x3
See notes covers thru 1125
Use 21/21a
See notes parker
On couch
controller
football
Covers 130a
Series x3
Mike roz
W cat
Parker action
Series girls move into frame
girls
Roz mike cat
Cat series x2
SCRIPT SUPER EDITOR SHOT DETAIL LOG
Time
Code
Roll
Scene
Take
P
Snd
Time
23
133
133a
133b
133c
133d
134
134a
135
135a
135b
135c
136
136a
136b
136c
137
138
139
146
147
147a
147b
149
150
151a
151
151b
151d
151c
152a
152ab
152ac
152ad
152ae
2
2
4
2
9
52.67
17.13
54.53
1.01.41
17
13
18
31
33
30
2
1
4
2
4
2
2
2
3
5
3/4
6
1/2/4
1
3/4
52.12
28.77
7
7
11
12
35.45
28.93
53.59
20.56
20.17
24.32
18.07
28.10
18.89
1/2
4
2
1
24.13
19.13
48.71
3
3
2
4
1
2
15.03
3.14.62
26.69
2.47.15
3.51.89
3.44.48
11
Lens
PAGE 9 OF11__
Shot
Desc
m/2sh
cu
m/cu
cu
wide
Rev. cu
Ots brice
Cu gun
m/sh
upsh
Master w
Move w
Cu mike
Roz prof
m/sh
m/cu
wide
wide
master
m/2
med
cu
cu
Cu mike
master
Pan w
insert
2 sh
master
Med 2sh
m/cu
cu
2 sh
Comments
series
brice
New angle on brice
Girl at door series x12
Roz and mike on couch 4 girls
series
series
Series brice w gun exits off
To head series x2 rpu
3 sh
Brice cu
cat
Brice enters
See notes (takes broken up)
Wild sound for dial
See notes shot thru 150 MOS
MOS parker bit
Cell guy to cell girl series (ins 150)
MOS ins on jello shots
Girl and guy text inserts
MOS
Wide see notes
Party crown by.
Cu PP ass no time
Tilt up
Shot thru 153 see notes
Near perfect dial rpu as marked
See notes
extras
SCRIPT SUPER EDITOR SHOT DETAIL LOG
Time
Code
Roll
Scene
Take
P
Snd
Time
30
152af
152ag
153
153b
154d
154e
154f
154g
154h
154k
154L
154
154a
154b
154aa
154ab
154ac
154ad
154ae
154af
154ag
154ah
154aj
155
155a
155b
155c
155d
155e
155f
155g
155h
156
156a
2/4
1/2
11
3.10.57
34
19
20
21
22
34
PAGE 11 OF 11
12
1
20.16
Lens
PAGE 10 OF 11_
Shot
Desc
Comments
react
react
Series w
M 2sh
See notes
See notes tighter
MOS Mike going up/down
Roz Jen MOS
Over brice cups (in order of game)
Brice side MOS
Full rack MOS
Series mos
8
3
3
2
3
1.24.81
1.32.95
1.38.20
4.06.04
2
2
1
2
1.38.03
3.03.21
8.46.10
2.57.50
2
1.17.50
2 cups
Front an
m/cu
2 cups
ecu
ecu
master
mcu
Rev on
wide
roz
m/sh
tighter
rev
tighter
cu
Jenny m
Jen cu
master
Brice side
2-4
1
2
1
1
1
2
1
12
1.11.91
1.33.01
1.11.47
1.17.82
7.39
1.07.34
1.01.14
ecu
m/cu
Rev on
wider
Cu mike
Cu jen
Cu chair
Cu mike
wide
Over mikes cups in order MOS see notes
Mikes side
Shot in over
Side ang bounce ins (diff. Speeds)
Wild lines after
brice
2nd half of sc
See notes (shot beat x beat)
See notes shot beat x beat roz mike
Same as previous
Brice’s side
See notes
Brices side
Series as marked
Series as marked
2nd half of game
See notes
See notes
Splash see notes
mike
See notes
reaction
See notes
On band