Every take, logged
before the next slate
The script supervisor's takes log, kept in the scene it belongs to. Each new take is already filled in from the last one: the same shot, the next take number, every camera on its next clip, the next sound file. Check it, time it, and mark it Good, Hold, NG or FS from its row, with or without a signal. At wrap, post gets a clean takes sheet, not a retyped notebook.
Pre-filled
Next take, next clip, next sound
One tap
Good, Hold, NG or FS per camera
No signal
Logged on the device, sent later
Takes sheet
Every take, or only the Good ones
The take log is the bridge between the set and the cutting room
Every circled take, and every card, clip and sound file number, is something an editor will rely on weeks from now. Kept in a notebook, the log gets typed up again at the end of a long day, by someone tired, from handwriting squeezed in between setups. That is where the mistakes get in.
In SceneMatch the takes live in the scene, next to its continuity photos and notes. You write them once, on set, and the sheet post receives is that same record, not a copy of it.
- Handwritten log, retyped at wrap Logged once on set, exported as it is
- Shot, take, clip and sound written out every time The next take fills itself in
- Circles and crosses in the margin Good, Hold, NG or FS, one tap from the row
- B-camera numbers squeezed into the margin A row per camera, with card, clip and lens
Who it's for
Logged by the script supervisor, and read by everyone who has to find a take later.
Script supervisor
The log is yours, built for the pace of the floor: live on a phone or tablet while the camera rolls, and corrections in the evening once the day has calmed down.
- Tap Add and the shot, next take, clips and sound file are already there
- A new shot starts again at take 1
- Time the take with the stopwatch, or type it
- Mark each camera from the take's row, without opening it
- Listed by shot, then take, however you logged them
- Tap a row to fix a clip, a lens or a note
1st & 2nd AD
See where a scene stands without walking over to the script supervisor. The takes are on the scene, on your own device, with the Good ones tinted. A shooting day's export puts the takes of all that day's scenes into one PDF for the end-of-day paperwork.
DIT & data wrangler
Every camera's card and clip numbers are on the sheet, take by take, with their status: a list to check your offloads against, and to see which clips are circled before they go to post. These are the numbers logged on set. Nothing is read from the cards.
Editor & assistant editor
The editor's sheet lists only the Good takes, and the full sheet lists every take with its status. Card, clip and sound file share a row, so the picture is easy to find and the sound easy to pair, with the lens and the script supervisor's notes beside them.
Camera department
The card's letter names the camera: card A012 is Cam A, B004 is Cam B. Every camera that rolled gets its own row with its card, clip and lens, so the numbers off your slate are logged against the right body. On the next take each camera moves on to its next clip.
Sound department
Every take has a place for the recorder's file or take number, for example REC1-0045, and on the next take it moves on to the next number, just like the clip. On the takes sheet it sits on the same row as the picture it belongs with.
The verdict gets its own button
Before takes had a status in SceneMatch, the script supervisors who log the most takes were typing the verdict into the description, take after take: Queda, No queda, Falso. There was nowhere else to put it. Now there is.
Each camera of a take is marked on its own, so Cam A can be the circled take while Cam B is held. Tap the Status button on the row and choose one, without opening the take; tap the chosen one again to clear it. Marked rows are tinted in their colour, with a strip down the edge, so the Good ones stand out on a long day.
What a take holds
Everything a takes log needs, in a form quick enough to fill in between "cut" and "reset".
The take
Shot, take, running time and sound file, logged on the scene it was shot for. Type the minutes and seconds, or start the stopwatch beside them as the camera rolls and stop it at cut.
Each camera
Card, clip, lens, status, a short description and details for anything else. Add a tab for each camera that rolled; a take shot on several cameras carries an MC ribbon.
Read in order
Takes are listed by shot, then take, in natural order: 2 before 10, 24A before 24B. A missed take filled in later drops into its place, and a shot picked up again at take 1 reads as a run of its own.
How it works
From the first slate to the editor's inbox.
Open the scene
Takes belong to a scene. Open the one you are shooting and its takes panel shows every take so far.
Add the take
Tap Add. The shot, the next take number, each camera's next clip and the next sound file are already in. Check them, run the stopwatch and save, or save and add the next one straight away.
Mark it
Good, Hold, NG or FS for each camera, from the take's row. One tap, no form to open.
Export the sheet
From the scene or the shooting day: every take with its status, or only the Good ones for the editor.
Rather be shown? Open Help in the app: three guided tours walk you through logging, reviewing and exporting takes, on your own production.
No bars on the stage? Keep logging
A metal roof, a basement, a tunnel: the take still has to be logged. With no signal, takes are logged, changed, marked and deleted on the device, appear in the panel straight away with Saved on device under them, and go to the server by themselves once the connection comes back. There is no button to press.
- The next take still fills itself in
- Changes arrive in the order you made them
- A take resent on a bad line is saved once, never twice
- Closing the app or reloading loses nothing
- A take not sent yet can be deleted on the spot
- A refused take stays in the panel with the reason
The queue moves while SceneMatch is open. Until then the takes are on your device only, so open the app for a moment once you are back in signal. Exporting the PDF waits for a connection.
The takes sheet, ready for post
A PDF with one row for each camera of every take, in shot and take order, for the editor, the DIT and the production office.
Every take
The full log, each take with its status, for the record and for the DIT's checks.
The editor's sheet
Only the takes marked Good, which is usually what the cutting room asks for.
A scene or a whole day
Export one scene, or a shooting day to get all of its scenes in one PDF. It is built in the background while you keep working.
Put the notebook down
Registration is free for anyone who wants to try it. Create a production, open a scene and log your first take: the second one fills itself in.
Sign up freeQuestions about takes
For logging with no signal, see working offline. Something not covered here? Get in touch and we'll help you set it up for your production.
What is the difference between the two takes sheets?
The full sheet lists every take with its status: Good, Hold, NG or FS. The editor's sheet lists only the takes marked Good, which is usually what post-production asks for. Both have card, clip, shot, take, time, lens, sound, description and details.
Can I log takes with no signal?
Yes. Takes are logged, changed, marked and deleted on the device and sent by themselves when the connection is back, in the order you made them. A take that is resent over a bad connection is still saved only once. Keep SceneMatch open for a moment once you have signal again so the queue can move.
Can I export a whole shooting day at once?
Yes. Export from a shooting day to get the takes of every scene on that day in one PDF. Takes belong to their scene, not to a day, so a scene shot across two days brings all of its takes with it.
We shoot with more than two cameras. Does that work?
Add a tab for each camera that rolled on the take; the next one is offered on the next card letter. Each camera has its own card, clip, lens and status, and the take is marked MC in the list.
Does it connect to the camera or the sound recorder?
No. SceneMatch doesn't read cards, metadata or sound reports. The numbers are the ones you log. Because clip and sound numbers move on by themselves, you will usually only need to check them.