The departments a film needs beyond the camera: block a scene, plan the coverage an editor needs, and catch a reverse that crosses the 180-degree line.
A film studio was never one building. It was a lot: a stage where scenes were blocked before anyone rolled, a first AD who knew which setups the cutting room would need, a script supervisor reading every shot against every other shot. Generation solved the camera. The Lot Supervisor is the departments around it.
A single camera is always correct on its own. The error only exists between two: cut from one side of the line of action to the other and your performers swap places on screen. The lot reads a whole scene at once — every setup on one overhead plan, the line of action drawn, and any camera that crosses it marked, with the performer whose screen position flips named in the finding.
Master, singles, over-the-shoulders, reactions, inserts — and an honest read on what is missing and what that costs in the cutting room. Reverse pairs are checked too: two halves of the same conversation shot on very different focal lengths will not cut together, however well each one is framed.
Beyond one scene, the lot reads a project: state that fails to carry from one shot into the next, a declared wardrobe or prop change that no later shot reflects, and the story problems a visual check cannot catch — a character acting on something they have not learned yet.
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