"I bet you didn't realize it was that complicated" yup that's me. I was taking notes and suddenly stop and realized I have to watch this at least 5 times to get it. But it's so helpful and I didn't know you need to know so much. Thank you
I wish I had seen this a week ago. I was hired by a local studio as their script supervisor two days prior to the actual shoot day. Little did I know that I would also be the 1st AD, safety officer, PA, etc., etc. I wound up buying the MovieSlate 8 app for iPad , which is great. But I didn’t have time to really familiarize myself with all of the capabilities, other than the basics. Thank god it was a relatively small production, as it was my first time having ANY of these responsibilities. But I take my acting seriously, and was determined to not be the weak link on set. Mission accomplished! As the director thanked me for all of my hard work and said I the most important person on set. Time will tell. I hope the editor can read my chicken scratch on my script notes and circle forms. Thank you for this video. I’ll go over it many times again, I’m sure. As I will be running the slate for a local tv show coming up in a couple of weeks.
Excellent presentation! I took notes as you went along, and did a few replays of short sections to make sure I was understanding them correctly. Now I am ready to use my new slate on my next production. Thank you so much Kyle for teaching us all how to slate like a pro!
**That moment when I realized that I watched this video a dozen of times before I was able to grasp all of those things..** xD You're legend man! Great job! Very Helpful!!! :D Thanks a lot! ^_^
Exactly right!! There is no "witttthhh" sound in german . Our "W" is prounouced "Vasser" The old filmmakers tried to say: "WITH-out sound" Except without the "whiff - owt "turnd to "miff - owt" or mit out sound." Hence M.O.S. It's not important but it goes way back.
OK, I'm old, MOS meant MIT OUT Sound or Mask out sound, only release or answer prints had optical sound stripes, 35mm NEG never had sound, it was always double system,
This video is such a valuable resource to just throw someone's way to teach them to slate. All the basics are covered perfectly. Only thing I can see missing is PU after the take number for pickups. Great video, thank you for making it.
So Good! and Obviously from the point of view of actual experience and based on methods practiced on set. No BS. Thanks man I use your video in every sound class.
This is awesome...I just purchased and use a slate for the very first time...Pretty cool... learned a lot from your video...gonna have to get new one because I purchased the chalk board one ..😬😁...Thanks again....best wishes 🙏🏾
No Lid Creations awesome! Thanks for watching! Chalk board slates are cool too and serve the same purpose if that’s all you’ve got, though not commonly used.
Super helpful! I'm the location sound and post sound guy for my college theater dept. short films (because covid) and the first day the director/cinematographer did not seem interested in keeping me in the loop with his plans. I bought a cheap slate off amazon and I'm going to use this knowledge to great effect so that even if no one else cares at least I know what's going on!
Honestly, I thought using a slate/board was just something amateurs did to look professional or fancy..... ....as it turns out, if keeping tracking of 62 different clips is important, its pretty necessary
awesome bro! i justed started as a 2nd and this was really helpful. i had no idea about slating and my first job a few weeks ago I had to do some audio slating and when I marked the take I just stood there afterwards for a few seconds without getting out of the frame. such a noob! hahahaha
Very good presentation, one thing I noticed: on films I have worked on, the sound speed was followed by the 2nd ac putting in the slate, but at the same time, also him saying the infos and MARK, but did not clap it yet. Once the slate was in frame, 1st AC pressed play, and he responded MARK also, so that was the time, the 2ND clapped. I guess both ways gets the job done..
* Wow that was like an important chunk or actual film school all in 10 minutes! haha * All this time, I thought that "lens into liquid" shot at end was an actual lens, but now think it's a drinking mug haha
crfvp4u I’m in Vancouver. The industry here is picking back up pretty quickly to pre-pandemic levels. There’s a lot of new protocols in place, but lots of work.
@@klawrence1987 I was born in Vancouver! I've been in So Cal for a while. I've own a Deneke TS-3 for about 6 years now but a lot of fast pace productions don't want to use a slate let a loan a smart slate, most small productions depend on Puraleyes or the editing suit version to sync.
Check with your sound mixer. Often he is pre-slating the scene and take numbers onto the recorder himself. 2AC will only call out the appropriate "mark".
There are a few ways to do this. Sometimes a giant skate is used if the camera is high up / far away. You can also do a series slate by rolling the camera when close to you just for the slate and then cutting before moving the drone/camera into position and then rolling for each take. The series slate can also work as a tail slate. Drone and aerial shots are likely MOS. Be sure to mark on camera report that it’s a series.
In simple terms, those of you who are slating the scene this afternoon move your clothes down onto the lower peg immediately after lunch, before you write your letter home, if you're not getting your hair cut, unless you've got a younger brother who is going out this weekend as the guest of another boy, in which case, collect his note before lunch, put it in your letter after you've had your hair cut, and make sure he moves your clothes down onto the lower peg for you. In summary, If you're not getting your hair cut, you don't have to move your brother's clothes down to the lower peg. You simply collect his note before lunch, after you've done your script prep, when you've written your letter home, before rest, move your own clothes onto the lower peg, greet the actors, and report to Mr. Viney that you've had your slate signed.
I appreciate this video. I'm currently syncing footage, and I wanted to see if there were good resources out there, because no one does it right, long time before the slate enters the shot, it enters closed, no call out for scene/take, and out of focus. The only thing I think you didn't mention (but demonstrated), is write big and clear on the slate so people can actually read it! I also have become a fan of the 2nd AC putting their hand between the sticks when it is MOS, a nice big, clear visual (like holding the slate from the center of the bottom stick, if that makes sense).
Thanks! Yes, it can certainly be frustrating for the editor (assistant / dailies / whoever) when things aren’t slated properly. Share this with the 2nd ACs whenever you go into a new project! Haha :) thanks for watching!
Using letters is the American standard. UK use slate numbers and just go up by one every time the camera angle changes. It's a simpler way of doing things I think.
OK, I'm old, I've never heard the term [motor only sound] way back MOS meant MIT OUT Sound or Mask out sound, only release or answer prints had optical sound stripes, 35mm NEG never had sound, it was always double system,
Where did they get motor only sync? MOS is a term from the 1930's when they used to record audio optically on film. MOS means Minus Optical Soundtrack; not Mid Out Sound in a German accent; that's the Hollywood version.
Thanks for the insight! It's possible MOS originated as "Minus Optical Soundtrack", although, I wouldn't know as I wasn't making films in the 1930s, haha. But, I do know that today, on set of most studio shows, the consensus is that it stands for "Motor Only Sync"... audio is no longer recorded optically onto the film, in fact, most shows nowadays aren't even using film. "Mid Out Sound" is more of a running joke in some parts of the industry, although I don't often hear that joke on Vancouver's film sets. Thanks!
I learned it as "Minus Optical Sound" as well. They may well have simply adapted it to "Motor Only Sync" after the fact to retain the same meaning, without causing confusion.
Great video! In case of 2 cameras rolling and one slate, should I clap twice (one after saying A mark and the second after saying B mark)? Or is it enough to clap 1 time after saying "A Mark, B mark" and making sure the slate is visible in both the camera? Cheers :)
Thanks for watching! If both cameras can see the same slate when you clap it, just label it as "Common Stix" and say "Common Sticks, Mark" and you only need to clap it once. If both cameras can't see the slate at the same time, then you should say "A Mark" before clapping it in front of A Camera, and then move it to B Camera, say "B Mark" and then clap it. No need to repeat the Scene/Take information twice though. :)
@@thatguyTushar Each roll has it's own unique label. In the digital world, each card (or each time you format the card) becomes a new roll. If you had two drives with the same name, it would lead to confusion. If you are rolling on A camera and B camera, normally, you would use two slates (one for A camera with A camera's current roll, such as A101 and one for B camera with B camera's current roll, such as B098). However, if you're using a common slate (Common Stix) for both cameras, then you should mark both rolls on the slate (A101, B098). Thanks for watching!
Thanks.. 7:16 I think in a Multicam situation you DO need SAY the scene info on B & C cameras etc. because if your sound files become separated, simply hearing "B Mark" won't help you identify the scene.
Thanks for watching. Great insight! To clarify, what I shared is based on the assumption that you're recording audio separate from video, to an audio recorder, not on the camera. If so, then you'd be using the same audio file for all three (A, B and C) cameras.
Mark always has his phone on silent... because he's on set. Unfortunately, it's an old iPhone 4S and the "buzzer" has stopped "buzzing", so he doesn't feel the vibration. Needless to say, Mark has missed countless calls. AT&T tried offering him a number of free phone upgrades, but he missed their calls. It's a real catch 22 situation. Poor Mark.
On east coast or west coast? I know regions sometimes have it differently. Where I am it’s fingers/hand between the clappers & called MOS instead of for Mit out sound it’s for Motor only sync with only a few people saying mit out sound. It’s interesting how different regions & different production groups have different names & definitions for the same things or use several definitions but favor one over the other.
Y. Zhao Normally, red represents 1 (A cam, marks for #1 actor) and blue represents 2 (B cam, marks for #2 actor). Green usually represents C cam and marks for #3 actor. After that, it’s more of a free for all, but consistency is key. On the slate, you would use red/blue/green tape to identify the roll number. As far as other things, using a fluorescent color, like green, pink or yellow, to identify MOS or Common Stix is helpful to the dailies operator or assistant editor, but there isn’t really a standard color code that I’ve seen or heard of for those things. I’d recommend staying consistent though, after a couple days on a long shoot, your dailies operator or assistant editor will get familiar with your choice of color and it’ll make their job that much quicker. Thanks for watching!
@@klawrence1987 Thanks Kyle. When the slate is a common stick do you used the same color (let's say red) and roll number for all cameras? Or should you assign a special color (let's say yellow) for the Roll letter in common stick situation? Or is it just better to use a separate slate? How would the dailies operator or assistant editor organize the files before post-production? I'm trying to figure out an organization method for footage in a documentary production. Usually I would organize everything by date and file types, but currently I'm trying to create a new method. The problem is that sometimes only the B cam is utilized for certain types of footage. When that happens I end up with B049 for B cam while the A cam is still A021. Therefore I would have to keep a record of three or four different slates (one per cam) which would be a nightmare. On set, it is my understanding that A, B, C cam are usually used together so you could just use a common stick and write that into the clip names, as Roll number, Scene and Shot number, Take are all the same. You'd only need to make sure the correct letter is assigned for the clips produced by that camera. Am I correct? Do you have any suggestion or tip for documentary situation? Thanks again for the sharing and making the video.
@@ianzhao5693 That's a lot to unpack. "Common Stix" or "Common Sticks" only means that you are using the same slate for multiple cameras. Typically you'd have one slate for each camera, each marked with the current roll for that camera. If you are short on slates or crew, or depending on the shot, it may be simplest to do a common slate, meaning both cameras are looking at the same slate for sync. Common Slate doesn't change your roll number. But, all active cameras' rolls should ideally be marked on the slate. Regarding roll numbers - think of each roll as a physical reel of film. Obviously, you're likely shooting digital onto cards, but it should be treated with the same respect. It's very important to properly keep track of roll numbers for each camera - otherwise, that's how you lose footage. In the digital world, your roll is not necessarily the physical memory card (since you will likely reuse those memory cards multiple times per week, overwriting what was previously shot), but corresponds to the container that holds that footage (which likely becomes a folder on a master drive). If you skip roll numbers, you will think you are missing footage when you aren't. If you use the same roll number, you likely will end up loosing footage. So, on a common slate for both A cam and B cam, put each of their respective rolls on the slate. If that ends up being A024 and B049, that's okay! If you have a script supervisor, it is that person's job to track the roll numbers for each camera as well as the sound roll. If you don't have a script supervisor, simply having someone keep even the most basic log of which scenes were shot on which rolls will help you in post, and in turn, will help you know which roll number to use next for which camera. I don't have experience in documentaries, so can't speak to that - as everything I've worked on has been narrative works. But, as far as clip/file organization. The specifics of this or how you do this will likely be different, but the principle may still apply. In my experience doing dailies for multiple studios, we would sync the audio and video, and then each clip would be labeled Scene-Take-cam (for example, 2A-1-a for Scene 2A, take 1, A cam). The clips would be in their roll's folder, which would be in a folder for that day. For example, we'd have "Project" > Footage > Day02_20200727 > A005 > (clips). I've found this to be a helpful way of organizing footage.
@@ianzhao5693 If a scene is unscripted, you should definitely decide how you are going to Slate / Label those ahead of time. If its an unscripted shot that belongs to an existing scene, just slate it as part of that scene, perhaps the next letter after the scene number or with an X before the scene number. Regardless, this would be up to the script supervisor to do a really good job of tracking that information so that you don't misplace footage and so that you don't reuse the same slate ID.
Thanks for this very concise information. My only question is regarding focus. The slate should be in focus. If the camera in in fact focused on the subject how can one ensure or even know if the slate is in focus also? Since the slate signifies the start of action the live camera wouldn't have any time to refocus on the actors or scene, particularly it's that clip is a wide shot at a distance.
Thanks for watching! To answer your question (and correct one small thing) ... The slate does not signify the start of action, it signifies the start of a clip/take for editorial purposes. You would normally focus sharp on the slate, allow the 2nd Assistant Camera to call out the slate information, clap the sticks, and then get out of the way. While the 2nd AC is getting out of the way, you have time to refocus on the actors/subject. The director (or AD) would wait until the focus is sharp (or perhaps the camera op calls out "set" or "frame") before calling "action". In some circumstances where it would be difficult to refocus/reposition the camera to accommodate the slate, you can do a tail slate (where you slate at the end of the take before you cut the roll), but this should usually only be used when necessary, as it can slow down the post production processes. (Note: a tail slate should be help upside down to signify that it's a tail slate.) Hope this helps! Thanks again for watching!
@@klawrence1987 Thanks for your swift response Kyle, yes that helps a great deal. One other thing about syncing audio. I have so far used 3 claps as I have found that easier to sync clips to audio, however this seems rather at odds with every pro slating I've so far observed. So one clap works ok? There should be a automatic way of sample locking the audio transient to the precise moment the sticks close! Tim
@@grooveroid Yes, one clap is all that's needed. I imagine three claps would just annoy your actors - and the extra claps really don't give you any advantage. You will sync the visual beat of the slate clapping to the audible sound of the slate clapping. You will do this by playing frame by frame, not watching at full speed. This is why you should call "Mark" before clapping the slate, so that you have an audible indication that the noise you heard was the slate being clapped and not something falling on the ground. Make sure your video and audio are being recorded at the same frame rate. There are some programs out there that can attempt to "auto sync", by locating quick peaks in the audio waveform, but it doesn't get much better than manually syncing it yourself. Which is even what the pros do on studio level features.
Hey Kyle, just had a bit of a random question. How does one slate a shot without messing up the adjusted framing/focus? should the focus be set on the slate then changed to subject after? Or if there isnt enough space to clearly fit the slate within the setup, what happens then?
The slate should always be sharp, so typically you will adjust focus to the slate and then readjust focus to your subject. In some situations where this would create issues or where the shot is too tight or too close to that actor, you can do a tail slate. This means that you’ll run the scene and then before cutting, the camera can break its shot to grab the slate somewhere more accessible. Tail slates should always be upside down.
Even if I watch this 12 more times, I’ll still have questions. This is a great rundown, don’t get me wrong, but it’s hardly for newbs because it opened up a Pandora’s box of questions. Why slate at the end? What exactly is motor only synch? What if you bungle the call, do you start over? Movie making is freakin stressful man!
Thanks for watching! Typically you want to slate at the beginning, but if you are unable to slate at the beginning for some reason then you would slate at the end - because each take still requires a slate for the same reasons. An example of why you may not be able to slate at the beginning is if you are setup on a really tight shot which takes a little time to get the camera positioned correctly. It's easy to move the camera at the end to find a slate, rather than spending a minute or two on the roll getting the camera in place (since you'd have to slate again if you stop rolling after slating). Although, if you are shooting MOS, then you can slate as an ID, then stop rolling, and then roll on your next take. MOS (motor only sync) is what it's called when you are rolling the camera only without rolling sound. There are many situations where you do not need to record sound, such as a tight insert of a prop that the actor is looking at, etc. If you mess up the call, correct yourself and say it again. Remember, the audio file recorded on a separate device, the only identifier is hearing the slate information. If what is spoken does not match what is written on the slate, then it would be difficult to find the right audio file to match up with the video file. Hope that helps!
Also you should call the board information after sound has called speed not when the 1st AC says speed. When the 1st AC has called speed that's when you clap the sticks. This is because, when using film you don't want to waste footage calling out the slate information - you only want to catch the sticks clapping. Recording audio is cheaper so you call it earlier than bringing the camera up to speed.
Thanks for watching and for the comments! I certainly don't claim to be an AC or an expert. In my experience as a dailies operator, syncing tens of thousands of clips with audio, I am typically only looking at a few frames and moving back and forth frame by frame. So any movement is minimal in such a short time gap. The countless shots I've had where the AC only used one hand did not create any hindrance for me syncing them, so, rest assured :). But thank you for keeping the dailies operator or assistant editor in mind! :) Now, of course, if you're on a really long lens where small movements are exaggerated, or a really tight shot where you don't have much empty space around the slate - using two hands is certainly important to keep the slate in the frame.
@@davidvandermeijde4884 The way I shared is indeed Roll-Scene-Shot-Take, however, shot uses letters. What I shared is the industry accepted standard that every editor, assistant editor and dailies operator will be familiar with and will clearly understand. The letter also provides a cleaner way to organizing clips that are part of the same scene. Files for editing are normally labeled 1-1 (for Scene 1 take 1), 1A-1 (scene/shot 1A Take 1), etc. 1-1.mov 1-2.mov 1A-1.mov 1A-2.mov 1B-1.mov is much cleaner to read than 1-1-1.mov 1-1-2.mov 1-2-1.mov etc..
Each angle is a new setup. Each setup increases the letter. So if you're shooting Scene 8, then the first setup (which may be 1, 2, or 3 cameras) are all slated as 8. (Because the footage from your cameras should also be labeled as A cam, B cam, C cam, etc.) Then your next setup, which is likely another angle or a different lens becomes 8A, the next setup becomes 8B, and so on.
@@klawrence1987 I mean if I'm filming with 1 camera. and its a dialog scene. i want to film the dialog behind the back of actor 1 and then behind the back of actor 2. but its the same dialog shot twice from different angles. that i can edit together. how am i calling it? because its the same scene and the same dialog happening. just from different angle every time. should it be like scene 8a and then scene 8b? its weird because its Technically the same shot... and both angles not coming one after the other... they are the same moment in the film from different angles... and in the editing room I'm changing between the angles...
Yes, that's correct. Everything is Scene 8 (for example), but you are using the letters to label which shot it is. So, if the slate says 8A, it's still Scene 8, but it's shot A. 8B is scene 8 shot B. You aren't changing the name of the scene, it's just simpler and common practice to write "8A" instead of "8 Shot A". So if you are filming a wide shot with one camera and two actors, that is scene 8 and you would label the slate as "8". But then your next shot, close up of one actor for the same scene is now labeled "8A", and the next close up is labeled "8B". In the editing room, you are looking for all of the shots that start with 8. Hopefully you are also making notes on set so that you know "8 is master", "8A is actor 1's close up", "8B is actor 2's close up", "8C is an insert shot of a watch" or whatever.
You're welcome! And thank you! שָׁלוֹם By the way, I am premiering my film "No Internet" that I'm really excited about on this channel on Friday, October 29 at 6 PM Pacific Time (GMT -0700)! :)
Thanks for watching! The first track used is called "I Wanna Stay Here With You" and the second track, during the montage of slates, is called "Intertwined". Both are from Epidemic Sound. Thanks!
Hi! Great video that encompasses much of what I've seen on set as a production sound mixer as well as post sound editor. I am curious though, at 5:02 there's H6B and at 7:26 there's J6A in the "scene." What might these other letters mean? Cheers!
Thanks!! In the case of H6B and J6A, those were scenes H6 and J6 respectively. With the letter on the right side of the number obviously marking the setup. When a script has scene numbers already and other scenes are added, a letter is used in the script to place it between the two scenes it was added between so that the numbers don’t change and throw off all of the existing paperwork, breakdowns, budgets, etc. Whether the script marks it correctly (letter before the number) or more commonly incorrectly (letter after the number), it should always be slated with the letter first, otherwise the master shot of Scene 9A (which should be A9) would be mistaken for the second setup of Scene 9 (slated as 9A). Hope that makes sense haha Thanks again for watching!
If only everyone would follow the rules, life would be so much better. Also you missed the part that if you want to annoy your D.P. you should say soft sticks everytime is a close up shot :D
I think I did miss the part about soft sticks, that’s definitely important to do on a closeup. Not sure how that annoys the DP though. Thanks for watching!
Those are PTouch labels which can be printed using relatively cheap and portable label printers. An essentially piece of gear to keep in the camera truck.
"I bet you didn't realize it was that complicated" yup that's me. I was taking notes and suddenly stop and realized I have to watch this at least 5 times to get it. But it's so helpful and I didn't know you need to know so much. Thank you
I wish I had seen this a week ago. I was hired by a local studio as their script supervisor two days prior to the actual shoot day. Little did I know that I would also be the 1st AD, safety officer, PA, etc., etc. I wound up buying the MovieSlate 8 app for iPad , which is great. But I didn’t have time to really familiarize myself with all of the capabilities, other than the basics. Thank god it was a relatively small production, as it was my first time having ANY of these responsibilities. But I take my acting seriously, and was determined to not be the weak link on set. Mission accomplished! As the director thanked me for all of my hard work and said I the most important person on set. Time will tell. I hope the editor can read my chicken scratch on my script notes and circle forms. Thank you for this video. I’ll go over it many times again, I’m sure. As I will be running the slate for a local tv show coming up in a couple of weeks.
That’s awesome!! Thanks for watching!
I'm glad this was for newbs. I'd hate to see one for pros! :-) I'm gonna need to watch this more than once. Thanks for the lesson.
Joseph P Telle Sr. Haha! Thanks for watching!
If you think this was scary, try actually doing it on a real film set 😅
Now this is a proper tutorial unlike other channels
Thanks!
Excellent presentation! I took notes as you went along, and did a few replays of short sections to make sure I was understanding them correctly. Now I am ready to use my new slate on my next production. Thank you so much Kyle for teaching us all how to slate like a pro!
Alan McRae that’s great! Thanks for watching!
Watched many 'How to slate' videos, and this one was definitely the most helpful. Thanks!
Thanks for watching!
**That moment when I realized that I watched this video a dozen of times before I was able to grasp all of those things..** xD
You're legend man! Great job! Very Helpful!!! :D Thanks a lot! ^_^
Haha, thanks!
was thinking the same lol
0:24 what is that that you holding your hand?
Can you tell the name is that thing?
Oh gods. I have been looking for this information for several years. And, I see here all in one video! Thanks!
Bah! I firmly stand by the belief that MOS means "Mitout Sound" with a heavy german accent!
you're probably right :P
Exactly right!! There is no "witttthhh" sound in german . Our "W" is prounouced "Vasser" The old filmmakers tried to say: "WITH-out sound" Except without the "whiff - owt "turnd to "miff - owt" or mit out sound." Hence M.O.S. It's not important but it goes way back.
It's "mitt owt sprache" without speech.
I didn't realize it was THAT complicated! Thank you for this. Cheers!
MOS - Minus Optical Stripe… from old film days. Celluloid had an optical stripe for sound. Minus the stripe meant there was no sound.
OK, I'm old, MOS meant MIT OUT Sound or Mask out sound, only release or answer prints had optical sound stripes, 35mm NEG never had sound, it was always double system,
Great video. I just brought 2 slate boards from Adorama in NYC from canvision.
Thanks!
At last a video on this topic with no nonsense to the point explanation. Thank you ❤️
Thanks for watching!!
This video is such a valuable resource to just throw someone's way to teach them to slate. All the basics are covered perfectly. Only thing I can see missing is PU after the take number for pickups. Great video, thank you for making it.
Thanks!! Yes, I did forget to mention pickups and I think one other thing - haha it was a lot of info! But thanks for watching and for the comment!!
You sharpened that sword to a point very quickly. Thank you immensely!
Thank you!
So Good! and Obviously from the point of view of actual experience and based on methods practiced on set. No BS. Thanks man I use your video in every sound class.
Alex Markowski thanks!!
This is awesome...I just purchased and use a slate for the very first time...Pretty cool... learned a lot from your video...gonna have to get new one because I purchased the chalk board one ..😬😁...Thanks again....best wishes 🙏🏾
No Lid Creations awesome! Thanks for watching! Chalk board slates are cool too and serve the same purpose if that’s all you’ve got, though not commonly used.
Super helpful! I'm the location sound and post sound guy for my college theater dept. short films (because covid) and the first day the director/cinematographer did not seem interested in keeping me in the loop with his plans.
I bought a cheap slate off amazon and I'm going to use this knowledge to great effect so that even if no one else cares at least I know what's going on!
Thaeros the Dragon thanks for watching! And director/cinematographer who doesn’t care about sound sounds like the wrong director/cinematographer! 😁
The most comprehensive tutorials about slate. Thank you, Kyle.
You're welcome!
awesome lesson..and information....super....thank you....good lesson here...
Honestly, I thought using a slate/board was just something amateurs did to look professional or fancy.....
....as it turns out, if keeping tracking of 62 different clips is important, its pretty necessary
Jason Spades it’s definitely an important piece of the process. Every show you watch on TV is using them.
Thanks, I came to this late and learnt a lot (I'm a newbie) ran a few times to reinforce my notes. More to the process than I initially expected.
Outstanding! Clean, clear and precise information. 🤔
Thanks!
Thank you for this! Exactly the information I was looking for after working on sets for months (not in camera department, not to worry).
Awesome! Thanks for watching!
awesome bro! i justed started as a 2nd and this was really helpful. i had no idea about slating and my first job a few weeks ago I had to do some audio slating and when I marked the take I just stood there afterwards for a few seconds without getting out of the frame. such a noob! hahahaha
Haha nice! Don’t worry, I’ve seen so many people do that when they are new! Welcome to the industry and thanks for watching!
Very good presentation, one thing I noticed: on films I have worked on, the sound speed was followed by the 2nd ac putting in the slate, but at the same time, also him saying the infos and MARK, but did not clap it yet. Once the slate was in frame, 1st AC pressed play, and he responded MARK also, so that was the time, the 2ND clapped. I guess both ways gets the job done..
Thanks! Yes, ideally you just need a frame or two of the slate on camera, save some film/GBs and say the slate info before rolling the camera.
Thanks for the knowledge, I'm going to be a 2nd AC for the first time this week, so I'm going to watch this 3 times haha.
Thanks for watching! Good luck!
That was one of the best videos on how to slate on youtube
Thanks!
Brilliant and informative video.
Edited out stupid question which I managed to figure out moments after posting ;)
Thanks for watching!
Excellent tutorial! Thank you!
Thank you sir.
You're welcome! Thanks for watching!
Best first class, I mean ,First Class teaching, Thx so much.
Thank you!
Even for a one man studio this was helpful. Thank you for making this.
* Wow that was like an important chunk or actual film school all in 10 minutes! haha
* All this time, I thought that "lens into liquid" shot at end was an actual lens, but now think it's a drinking mug haha
Thanks for watching and commenting! haha, yes, just a mug. :)
I didn't knew 'til I read this comment-
No, had no idea there was so much to it! Thanks for the great video!
Jess Reyes thanks for watching!
I really liked your video, and i was stuned about the possibilitys and way it works. Thank you for explaining it.
Thanks for watching!
Good, thorough explanation!
Thanks!!
I'm the 2100th no. of subscriber of your channel. Thanks a lot sir.
Thank you!
The fast pace explanation was great. Good job.
crfvp4u thanks!
@@klawrence1987 Hey Kyle, how has your work load been in this new environment. Are you in the Hollywood area or in the Gavin Newsom shut down state?
crfvp4u I’m in Vancouver. The industry here is picking back up pretty quickly to pre-pandemic levels. There’s a lot of new protocols in place, but lots of work.
@@klawrence1987 I was born in Vancouver! I've been in So Cal for a while. I've own a Deneke TS-3 for about 6 years now but a lot of fast pace productions don't want to use a slate let a loan a smart slate, most small productions depend on Puraleyes or the editing suit version to sync.
crfvp4u I think you’re working on the wrong shows if they refuse to use industry standard gear 😝
Excellent explanation, thank you!
Thanks!
Excellent tutorial brother! Glad I stumbled upon it. Thanks!
Thanks!
You are seriously underrated
Clijn that’s what I thought!! Haha thank you though!
I like the tight explanation you gave
thanks!
Excellent guidance! 👍
Thanks!
Great video Kyle!
Thanks!
amazing video! Thank you! I'm definitely subscribing and going to be watching your videos, especially this one a bunch more times
Thanks!
Kool...great info Thank you
wow this was great.. been studying filmaking for years and didnt know it was this deep
Thanks for watching!
Didn't know Snowden dyed his hair blue and started teaching filmmaking.
Jokes aside, good job man, very detailed and helpful info!
Thanks! Not sure how Snowden ties into this but thanks for watching!
@@klawrence1987 Your face really reminded me of Snowden hahaha
That was awesome, I learned a lot. Thanks a bunch
Thanks for watching!
Thank you. Made all the sense in the world. Much appreciated
Thanks for watching!
Check with your sound mixer. Often he is pre-slating the scene and take numbers onto the recorder himself. 2AC will only call out the appropriate "mark".
Great information thank you
Thanks!
Very useful video. Thanks a bunch!
Thanks!
Can you do one on how to slate for drone or aerial shots pretty much any shot that's above head or far
There are a few ways to do this. Sometimes a giant skate is used if the camera is high up / far away. You can also do a series slate by rolling the camera when close to you just for the slate and then cutting before moving the drone/camera into position and then rolling for each take. The series slate can also work as a tail slate. Drone and aerial shots are likely MOS. Be sure to mark on camera report that it’s a series.
In simple terms, those of you who are slating the scene this afternoon move your clothes down onto the lower peg immediately after lunch, before you write your letter home, if you're not getting your hair cut, unless you've got a younger brother who is going out this weekend as the guest of another boy, in which case, collect his note before lunch, put it in your letter after you've had your hair cut, and make sure he moves your clothes down onto the lower peg for you. In summary, If you're not getting your hair cut, you don't have to move your brother's clothes down to the lower peg. You simply collect his note before lunch, after you've done your script prep, when you've written your letter home, before rest, move your own clothes onto the lower peg, greet the actors, and report to Mr. Viney that you've had your slate signed.
hmm... peculiar.
Great video! Learned a lot.
Cool!! Thanks for watching!
Excellent content.
Thanks!
Nice coffee mug
I appreciate this video. I'm currently syncing footage, and I wanted to see if there were good resources out there, because no one does it right, long time before the slate enters the shot, it enters closed, no call out for scene/take, and out of focus. The only thing I think you didn't mention (but demonstrated), is write big and clear on the slate so people can actually read it! I also have become a fan of the 2nd AC putting their hand between the sticks when it is MOS, a nice big, clear visual (like holding the slate from the center of the bottom stick, if that makes sense).
Thanks! Yes, it can certainly be frustrating for the editor (assistant / dailies / whoever) when things aren’t slated properly. Share this with the 2nd ACs whenever you go into a new project! Haha :) thanks for watching!
@@klawrence1987 Agreed! and I will! (In the rare occasion I'm brought before wrapping, ugh lol)
That video was dope, thanks man!
Matheus Campello thanks!!
This video is massive, too much information man. Thanks
Thanks!
Comprehensive tutorial. Great job!
Thanks!
There are 4 burnt pixels right? Don't mind them. The video was awesome! Thanks.
Esteban Franchina thanks for watching!
Thank you so much. So so helpful.
Thanks
Using letters is the American standard. UK use slate numbers and just go up by one every time the camera angle changes. It's a simpler way of doing things I think.
Thanks for commenting. I've only worked in the industry in North America, good to know. :)
you have my subscription, buddy.
Thanks!
I had no idea. Thank you!!
Thank you so much for this.
Thanks for watching!
OK, I'm old, I've never heard the term [motor only sound] way back MOS meant MIT OUT Sound or Mask out sound, only release or answer prints had optical sound stripes, 35mm NEG never had sound, it was always double system,
thanks for this one! It's awesome
Thanks!
Great detailed info!
Thanks!
Where did they get motor only sync? MOS is a term from the 1930's when they used to record audio optically on film.
MOS means Minus Optical Soundtrack; not Mid Out Sound in a German accent; that's the Hollywood version.
Thanks for the insight! It's possible MOS originated as "Minus Optical Soundtrack", although, I wouldn't know as I wasn't making films in the 1930s, haha. But, I do know that today, on set of most studio shows, the consensus is that it stands for "Motor Only Sync"... audio is no longer recorded optically onto the film, in fact, most shows nowadays aren't even using film. "Mid Out Sound" is more of a running joke in some parts of the industry, although I don't often hear that joke on Vancouver's film sets. Thanks!
MOS means „motion only shot“.
I learned it as "Minus Optical Sound" as well. They may well have simply adapted it to "Motor Only Sync" after the fact to retain the same meaning, without causing confusion.
Mixer's Out Smoking
Like "the whole nine yards", the origin is lost in the mists of history.
very efficient thanks.
Thanks for watching!
Great video! In case of 2 cameras rolling and one slate, should I clap twice (one after saying A mark and the second after saying B mark)? Or is it enough to clap 1 time after saying "A Mark, B mark" and making sure the slate is visible in both the camera?
Cheers :)
Thanks for watching! If both cameras can see the same slate when you clap it, just label it as "Common Stix" and say "Common Sticks, Mark" and you only need to clap it once. If both cameras can't see the slate at the same time, then you should say "A Mark" before clapping it in front of A Camera, and then move it to B Camera, say "B Mark" and then clap it. No need to repeat the Scene/Take information twice though. :)
@@klawrence1987 When the same slate is used on two cameras then how do you label the 'roll'?
@@thatguyTushar Each roll has it's own unique label. In the digital world, each card (or each time you format the card) becomes a new roll. If you had two drives with the same name, it would lead to confusion. If you are rolling on A camera and B camera, normally, you would use two slates (one for A camera with A camera's current roll, such as A101 and one for B camera with B camera's current roll, such as B098). However, if you're using a common slate (Common Stix) for both cameras, then you should mark both rolls on the slate (A101, B098). Thanks for watching!
Thanks.. 7:16 I think in a Multicam situation you DO need SAY the scene info on B & C cameras etc. because if your sound files become separated, simply hearing "B Mark" won't help you identify the scene.
Thanks for watching. Great insight! To clarify, what I shared is based on the assumption that you're recording audio separate from video, to an audio recorder, not on the camera. If so, then you'd be using the same audio file for all three (A, B and C) cameras.
Great ass video my G!
Thanks!
Thank you sir!
When ever im on set i always call mark!
But he never picks up the phone! 😎😁
Mark always has his phone on silent... because he's on set. Unfortunately, it's an old iPhone 4S and the "buzzer" has stopped "buzzing", so he doesn't feel the vibration. Needless to say, Mark has missed countless calls. AT&T tried offering him a number of free phone upgrades, but he missed their calls. It's a real catch 22 situation. Poor Mark.
When I was coming up as a second, we did MOS with a finger between the clappers.... and it is Mit Out Sound....
On east coast or west coast? I know regions sometimes have it differently. Where I am it’s fingers/hand between the clappers & called MOS instead of for Mit out sound it’s for Motor only sync with only a few people saying mit out sound. It’s interesting how different regions & different production groups have different names & definitions for the same things or use several definitions but favor one over the other.
Thank you this is great
Thanks!
wonderful
Thanks!
Is there a color code for what color tape you should use to mark different things? Like green to mark "common stick" or pink to mark "mos"? Thanks
Y. Zhao Normally, red represents 1 (A cam, marks for #1 actor) and blue represents 2 (B cam, marks for #2 actor). Green usually represents C cam and marks for #3 actor. After that, it’s more of a free for all, but consistency is key. On the slate, you would use red/blue/green tape to identify the roll number. As far as other things, using a fluorescent color, like green, pink or yellow, to identify MOS or Common Stix is helpful to the dailies operator or assistant editor, but there isn’t really a standard color code that I’ve seen or heard of for those things. I’d recommend staying consistent though, after a couple days on a long shoot, your dailies operator or assistant editor will get familiar with your choice of color and it’ll make their job that much quicker. Thanks for watching!
@@klawrence1987 Thanks Kyle. When the slate is a common stick do you used the same color (let's say red) and roll number for all cameras? Or should you assign a special color (let's say yellow) for the Roll letter in common stick situation? Or is it just better to use a separate slate? How would the dailies operator or assistant editor organize the files before post-production? I'm trying to figure out an organization method for footage in a documentary production. Usually I would organize everything by date and file types, but currently I'm trying to create a new method. The problem is that sometimes only the B cam is utilized for certain types of footage. When that happens I end up with B049 for B cam while the A cam is still A021. Therefore I would have to keep a record of three or four different slates (one per cam) which would be a nightmare. On set, it is my understanding that A, B, C cam are usually used together so you could just use a common stick and write that into the clip names, as Roll number, Scene and Shot number, Take are all the same. You'd only need to make sure the correct letter is assigned for the clips produced by that camera. Am I correct? Do you have any suggestion or tip for documentary situation? Thanks again for the sharing and making the video.
Also, how would you label the slate if a scene was unscripted? What letter should be in front of the scene number?
@@ianzhao5693 That's a lot to unpack. "Common Stix" or "Common Sticks" only means that you are using the same slate for multiple cameras. Typically you'd have one slate for each camera, each marked with the current roll for that camera. If you are short on slates or crew, or depending on the shot, it may be simplest to do a common slate, meaning both cameras are looking at the same slate for sync. Common Slate doesn't change your roll number. But, all active cameras' rolls should ideally be marked on the slate.
Regarding roll numbers - think of each roll as a physical reel of film. Obviously, you're likely shooting digital onto cards, but it should be treated with the same respect. It's very important to properly keep track of roll numbers for each camera - otherwise, that's how you lose footage. In the digital world, your roll is not necessarily the physical memory card (since you will likely reuse those memory cards multiple times per week, overwriting what was previously shot), but corresponds to the container that holds that footage (which likely becomes a folder on a master drive). If you skip roll numbers, you will think you are missing footage when you aren't. If you use the same roll number, you likely will end up loosing footage.
So, on a common slate for both A cam and B cam, put each of their respective rolls on the slate. If that ends up being A024 and B049, that's okay!
If you have a script supervisor, it is that person's job to track the roll numbers for each camera as well as the sound roll. If you don't have a script supervisor, simply having someone keep even the most basic log of which scenes were shot on which rolls will help you in post, and in turn, will help you know which roll number to use next for which camera.
I don't have experience in documentaries, so can't speak to that - as everything I've worked on has been narrative works. But, as far as clip/file organization. The specifics of this or how you do this will likely be different, but the principle may still apply. In my experience doing dailies for multiple studios, we would sync the audio and video, and then each clip would be labeled Scene-Take-cam (for example, 2A-1-a for Scene 2A, take 1, A cam). The clips would be in their roll's folder, which would be in a folder for that day. For example, we'd have "Project" > Footage > Day02_20200727 > A005 > (clips). I've found this to be a helpful way of organizing footage.
@@ianzhao5693 If a scene is unscripted, you should definitely decide how you are going to Slate / Label those ahead of time. If its an unscripted shot that belongs to an existing scene, just slate it as part of that scene, perhaps the next letter after the scene number or with an X before the scene number. Regardless, this would be up to the script supervisor to do a really good job of tracking that information so that you don't misplace footage and so that you don't reuse the same slate ID.
Thanks for this very concise information. My only question is regarding focus. The slate should be in focus. If the camera in in fact focused on the subject how can one ensure or even know if the slate is in focus also? Since the slate signifies the start of action the live camera wouldn't have any time to refocus on the actors or scene, particularly it's that clip is a wide shot at a distance.
Thanks for watching! To answer your question (and correct one small thing) ... The slate does not signify the start of action, it signifies the start of a clip/take for editorial purposes. You would normally focus sharp on the slate, allow the 2nd Assistant Camera to call out the slate information, clap the sticks, and then get out of the way. While the 2nd AC is getting out of the way, you have time to refocus on the actors/subject. The director (or AD) would wait until the focus is sharp (or perhaps the camera op calls out "set" or "frame") before calling "action". In some circumstances where it would be difficult to refocus/reposition the camera to accommodate the slate, you can do a tail slate (where you slate at the end of the take before you cut the roll), but this should usually only be used when necessary, as it can slow down the post production processes. (Note: a tail slate should be help upside down to signify that it's a tail slate.) Hope this helps! Thanks again for watching!
@@klawrence1987 Thanks for your swift response Kyle, yes that helps a great deal. One other thing about syncing audio. I have so far used 3 claps as I have found that easier to sync clips to audio, however this seems rather at odds with every pro slating I've so far observed. So one clap works ok? There should be a automatic way of sample locking the audio transient to the precise moment the sticks close! Tim
@@grooveroid Yes, one clap is all that's needed. I imagine three claps would just annoy your actors - and the extra claps really don't give you any advantage. You will sync the visual beat of the slate clapping to the audible sound of the slate clapping. You will do this by playing frame by frame, not watching at full speed. This is why you should call "Mark" before clapping the slate, so that you have an audible indication that the noise you heard was the slate being clapped and not something falling on the ground. Make sure your video and audio are being recorded at the same frame rate.
There are some programs out there that can attempt to "auto sync", by locating quick peaks in the audio waveform, but it doesn't get much better than manually syncing it yourself. Which is even what the pros do on studio level features.
Hey Kyle, just had a bit of a random question. How does one slate a shot without messing up the adjusted framing/focus? should the focus be set on the slate then changed to subject after? Or if there isnt enough space to clearly fit the slate within the setup, what happens then?
The slate should always be sharp, so typically you will adjust focus to the slate and then readjust focus to your subject. In some situations where this would create issues or where the shot is too tight or too close to that actor, you can do a tail slate. This means that you’ll run the scene and then before cutting, the camera can break its shot to grab the slate somewhere more accessible. Tail slates should always be upside down.
@@klawrence1987 Awesome! Thanks for the info :)
legend! very helpfull, thanks!!!
Even if I watch this 12 more times, I’ll still have questions. This is a great rundown, don’t get me wrong, but it’s hardly for newbs because it opened up a Pandora’s box of questions. Why slate at the end? What exactly is motor only synch? What if you bungle the call, do you start over? Movie making is freakin stressful man!
Thanks for watching! Typically you want to slate at the beginning, but if you are unable to slate at the beginning for some reason then you would slate at the end - because each take still requires a slate for the same reasons. An example of why you may not be able to slate at the beginning is if you are setup on a really tight shot which takes a little time to get the camera positioned correctly. It's easy to move the camera at the end to find a slate, rather than spending a minute or two on the roll getting the camera in place (since you'd have to slate again if you stop rolling after slating).
Although, if you are shooting MOS, then you can slate as an ID, then stop rolling, and then roll on your next take.
MOS (motor only sync) is what it's called when you are rolling the camera only without rolling sound. There are many situations where you do not need to record sound, such as a tight insert of a prop that the actor is looking at, etc.
If you mess up the call, correct yourself and say it again. Remember, the audio file recorded on a separate device, the only identifier is hearing the slate information. If what is spoken does not match what is written on the slate, then it would be difficult to find the right audio file to match up with the video file.
Hope that helps!
@@klawrence1987 this does help. I appreciate you taking the time to answer!
Shouldn't use just one hand to close the sticks - means the clapperboard moves which is not optimal for visual sync.
Also you should call the board information after sound has called speed not when the 1st AC says speed. When the 1st AC has called speed that's when you clap the sticks. This is because, when using film you don't want to waste footage calling out the slate information - you only want to catch the sticks clapping. Recording audio is cheaper so you call it earlier than bringing the camera up to speed.
Thanks for watching and for the comments! I certainly don't claim to be an AC or an expert. In my experience as a dailies operator, syncing tens of thousands of clips with audio, I am typically only looking at a few frames and moving back and forth frame by frame. So any movement is minimal in such a short time gap. The countless shots I've had where the AC only used one hand did not create any hindrance for me syncing them, so, rest assured :). But thank you for keeping the dailies operator or assistant editor in mind! :) Now, of course, if you're on a really long lens where small movements are exaggerated, or a really tight shot where you don't have much empty space around the slate - using two hands is certainly important to keep the slate in the frame.
Quick question on MOS slating. I've seen people put one hand in between the sticks without clapping to indicate MOS. Would that be fine too?
I honestly didn't know slating is this complicated.
Variation: hold the closed sticks together for an MOS slate.
Only do that if you have your fingers between the clappers. Alleviates confusion for the editor
Some filmmakers today still use film rolls. I rather use that instead of those SD cards or so.
You’re correct, some do still use film rolls.
For the scene number, What if you go all the way through the alphabet?
If you go all the way through the alphabet, then your next shot will use double digits, for example: Y, Z, AA, AB, AC, etc... thanks for watching!
@@klawrence1987 Why not make it way easier? Roll-scene-shot-take, I don't get the method with the letters, seems very ineffecient.
@@davidvandermeijde4884 The way I shared is indeed Roll-Scene-Shot-Take, however, shot uses letters. What I shared is the industry accepted standard that every editor, assistant editor and dailies operator will be familiar with and will clearly understand.
The letter also provides a cleaner way to organizing clips that are part of the same scene. Files for editing are normally labeled 1-1 (for Scene 1 take 1), 1A-1 (scene/shot 1A Take 1), etc.
1-1.mov
1-2.mov
1A-1.mov
1A-2.mov
1B-1.mov
is much cleaner to read than
1-1-1.mov
1-1-2.mov
1-2-1.mov
etc..
if i have a shot with multiple angles,
how am i marking it on the board???
like scene: 8A angleB?
Each angle is a new setup. Each setup increases the letter.
So if you're shooting Scene 8, then the first setup (which may be 1, 2, or 3 cameras) are all slated as 8. (Because the footage from your cameras should also be labeled as A cam, B cam, C cam, etc.)
Then your next setup, which is likely another angle or a different lens becomes 8A, the next setup becomes 8B, and so on.
@@klawrence1987 I mean if I'm filming with 1 camera.
and its a dialog scene.
i want to film the dialog behind the back of actor 1
and then behind the back of actor 2.
but its the same dialog shot twice from different angles.
that i can edit together.
how am i calling it?
because its the same scene and the same dialog happening.
just from different angle every time.
should it be like scene 8a and then scene 8b? its weird because its Technically the same shot...
and both angles not coming one after the other... they are the same moment in the film from different angles...
and in the editing room I'm changing between the angles...
Yes, that's correct. Everything is Scene 8 (for example), but you are using the letters to label which shot it is.
So, if the slate says 8A, it's still Scene 8, but it's shot A. 8B is scene 8 shot B. You aren't changing the name of the scene, it's just simpler and common practice to write "8A" instead of "8 Shot A".
So if you are filming a wide shot with one camera and two actors, that is scene 8 and you would label the slate as "8". But then your next shot, close up of one actor for the same scene is now labeled "8A", and the next close up is labeled "8B".
In the editing room, you are looking for all of the shots that start with 8. Hopefully you are also making notes on set so that you know "8 is master", "8A is actor 1's close up", "8B is actor 2's close up", "8C is an insert shot of a watch" or whatever.
@@klawrence1987 ok thank you so much for answering!
you have a very cool channel btw!
🧡
You're welcome! And thank you!
שָׁלוֹם
By the way, I am premiering my film "No Internet" that I'm really excited about on this channel on Friday, October 29 at 6 PM Pacific Time (GMT -0700)! :)
very helpful but would like to see some more Practically thanks.
Really cool and well explained. thanks please can i get the music track you used in your intro montage or similar track? thanks again
Thanks for watching! The first track used is called "I Wanna Stay Here With You" and the second track, during the montage of slates, is called "Intertwined". Both are from Epidemic Sound. Thanks!
Hi! Great video that encompasses much of what I've seen on set as a production sound mixer as well as post sound editor. I am curious though, at 5:02 there's H6B and at 7:26 there's J6A in the "scene." What might these other letters mean? Cheers!
Thanks!! In the case of H6B and J6A, those were scenes H6 and J6 respectively. With the letter on the right side of the number obviously marking the setup.
When a script has scene numbers already and other scenes are added, a letter is used in the script to place it between the two scenes it was added between so that the numbers don’t change and throw off all of the existing paperwork, breakdowns, budgets, etc.
Whether the script marks it correctly (letter before the number) or more commonly incorrectly (letter after the number), it should always be slated with the letter first, otherwise the master shot of Scene 9A (which should be A9) would be mistaken for the second setup of Scene 9 (slated as 9A). Hope that makes sense haha
Thanks again for watching!
If only everyone would follow the rules, life would be so much better. Also you missed the part that if you want to annoy your D.P. you should say soft sticks everytime is a close up shot :D
I think I did miss the part about soft sticks, that’s definitely important to do on a closeup. Not sure how that annoys the DP though. Thanks for watching!
0:25 what is the text printed on? For example te director. Is it just paper or some tape?
Those are PTouch labels which can be printed using relatively cheap and portable label printers. An essentially piece of gear to keep in the camera truck.
@@klawrence1987 thanks!
So I call out mark and clap the slate. When am I allowed to open it again?
When the camera isn’t looking at it