Introduction to AD & Continuity

Gain insight into the day-to-day responsibilities of the AD, including managing cast and crew, scheduling, and equipment.

The Assistant Director 

The First Assistant Director (AD) is the individual who has the prime responsibility for carrying out a director’s vision.  The AD team organizes preproduction, breaks down the script, prepares the shooting schedule and communicates these needs to the cast and crew. During production, the 1st AD organizes and facilitates each day of production. The 1st AD not only coordinates and supervises the cast and crew, but is usually the designated Safety Officer on the set. They are in charge to make sure that every aspect of the shoot has been reviewed and communicated to assist the director in maintaining the shooting schedule.


Script Supervision and Continuity 

The Script and Continuity Supervisor is essential to ensuring that scenes and shots will match and cut together in film, commercials and television.  Good record keeping and sharp eyes ensure that even when shot miles and months apart, the viewers will never see the difference.  The Script Supervisor not only keeps track of continuity but also keeps track of script changes and director’s notes for the Editor.

The class examines the role and responsibilities of the Assistant Director and Script Supervisor during prep and production including the necessary procedures, workflow, techniques and paperwork required to plan and run the set on large and small productions. Working with a television or feature film script, students break it down, create a production board, and produce a shooting schedule. The class times the script and keeps continuity paperwork. The class solves production issues, and completes the call sheets and forms used to run multi-million dollar projects.


Lectures, assignments and interactive class exercises will include:

     Job Responsibilities

  • “Seeing” for Continuity
  • Pre-production
  • Relationship with Directors and Producers
  • Problem-Solving
  • Unions & Guilds
  • Script Breakdown
  • Call Sheets & Production Reports
  • Timing and Scheduling
  • Difference in Film and Television/studio or location
  • Special Effects/Visual Effects
  • Basic Directing/Editing Theory for Continuity
  • Working with Actors
  • Industry Realities/ Job Search Strategies

The course includes a notebook of handouts, reference lists and various forms - all of which are useful to students after the workshop. While feature films and television are stressed, the material is applicable to low-budget films, corporate and video projects.


Eric Mofford

Eric Mofford is a producer and director that has been involved in over 100 film, television, web and music videos/commercials. He has worked as an Assistant Director and Production Manager on over 30 feature films and television programs, including the Emmy award-winning 24, Clockwatchers, Kalifornia, and Daughters of the Dust. Previous producing credits include the Emmy nominated, award winning feature documentary Houston We Have a Problem; the live action portions for the EA video game, Need for Speed: Undercover, with Maggie Q; and the television pilot, Finding Hope, with Chris Mulkey, James Morrison, and Molly Quinn. Recently directing projects include a documentary for and Mandala, a five camera live concert performance with world musician, David Arkenstone and a live interview/talk show for Brandu

Previous producing credits include Black. White. for FX television, Extreme Makeover: Home Edition for ABC and the IFC critically acclaimed comedy series, Minor Accomplishments of Jackie Woodman. He served as the Supervising Producer on the film, We'll Always Have Dingle, shot in Kerry County, Ireland. His dramatic blues film, Travelin' Trains (, aired nationally on A&E and won a dozen national and international film festival awards including the CINE Golden Eagle. In 2001, he co-produced the 13-part documentary series on high school students, Senior Year, for PBS. 

He has written and directed projects for Disney Interactive, Saban Entertainment, The Discovery Channel, Image America, Why Communications, United Way, Turner Broadcasting, and the Atlanta Project. He is a member of the Directors Guild of America. In June 2010, he received the Rawartists award. More information on his production company can be found at 

He has taught numerous media workshops on production, producing, union rules not only in the United States but in the Ireland, the Cayman Islands, and in Canada.  For the last 5 years, he has been mentoring filmmakers with an individualized, tutorial-based instruction program One on One Film Training.

A graduate of Emerson College with a BFA in film, Eric still considers his best and most challenging work to be raising his two daughters.