WHY?
Long ago, when I was still a "junior" filmmaker, I acted as script supervisor on a Seattle Seahawks television ad series shoot.  The pay was decent, at about $50 per hour, but the cramp in my hand after an 8-hour shoot wasn't worth it.  I decided I'd never do THAT again for less than $500 per hour.  We all know THAT'S not going to happen, though...

Twice, as an experienced filmmaker, I've been faced with a similar situation; once as the Foley/ADR/scoring guy for a film where the audio tracks didn't get recorded by the synch guy, and once in one of those 48-hour film competitions, where we strayed so far from the existing script that we might as well have not had one.  Both times, I promised myself I'd never do it again. Well, years later, as an event videographer and documentary filmmaker, I find myself being required to do it all again.  But THIS time, with experience as an event videographer, I've discovered some great techniques to keep from going completely insane.  

KEEPING FREE FROM INSANITY

1. If you can have a script supervisor on board during the shoots, DO IT! For those of you who don't know the best way to do this, here's what we do in our production house, for both tape-based and file-based shoots:
   1. GENERIC TECHNIQUES:
      1. USE A SLATE!  ALWAYS, ALWAYS, ALWAYS use a slate if you can, even for event and documentary shoots.
         1. Your slate should be on camera for at least 5 seconds, and will aid immeasurably when scanning footage of any type later. 
         2. Your slate should have shot number or scene, take number, and anything else that might be variable, like lens used, lighting, time of day, etc.
      2. Keep track SOMEWHERE of reel, tape, file number, etc., along with a description of what you're shooting.  Even if you're only keeping track of time code ranges with one-word descriptions, it's better than nothing.
      3. Use a Script Log of your own design, or use the one I've attached to this article.  It will eliminate headaches before they start!
   2. FOR TAPE- or REEL-BASED shoots:
      1. Number all your reels BEFORE you start shooting.  When I'm doing shoots with mini-DV or film, I make this part of my pack-up checklist.
      2. Have the script supervisor, if available, note timecode and reel for EVERY push of the record button, along with a brief description of what's being shot.  Don't get too wordy here, or you'll have a hand cramp that leaves you sayng, "never again for less than $500 per hour!"
      3. Develop a code for various types of shots.  For example, initials for characters that appear in each shot, a primitive sun or lightbulb for type of lighting, or a house icon or tree icon for location, perhaps. This will aid in quickly organizing shots later.
      4. If you have a script of ANY sort, make sure to note the shot and take for every segment.
   3. FOR FILE-BASED shoots:
      1. We do a number of shoots that are non-tape-based, recording directly to hard drive, where the footage will be either ingested later, or is "direct to edit." If your DTE recorder has the ability to connect to a computer where you can have a script supervisor take notes directly attached to the footage as it's being shot, DO IT! It took many edit sessions where I said, "Why didn't I take advantage of this feature earlier?" before I started making it a habit!
      2. USE YOUR SCRIPT SUPERVISOR!  If you are acting as S.S., then take a break once in a while to note what you've shot.  Again, even if it's just a file number range with a brief description, do it!

In the end, all of this may sound like common sense, but you'd be surprised just how many professionals fail to do it!  My suggestion is to make the preparation to track shoots part of your checklist, and make the tracking a habit that you never fail to follow.