On October 23rd, 2014, we updated our
By continuing to use LinkedIn’s SlideShare service, you agree to the revised terms, so please take a few minutes to review them.
Title Page: Title & screenwriter(s) names in the middle.
Font: Always use 12-point Courier ; no bold face or italics.
Page Numbering: Place the page number on every page in the upper right corner, except the cover.
Spacing: Double space between slug line, action line, speaking character, stage directions and dialogue. Single space action lines and lines of dialogue.
The Slug Line: The general or specific location and time of day. Always in ALL CAPS.
Action Line: Sets the scene with a description of characters, places and action single spaced from margin to margin.
Voice Over: Indicated by placing (VO) immediately to the right of the character name.
Off Camera: Indicates that a character is speaking off screen, place (OC) Immediately to the right of the character name.
Stage directions : Written in parenthesis and under the name of the character speaking. Include what the character is doing within the scene.
Sound/Music Effects: Are always capitalized.
EXT. CITY STREET – DAY
Heat rises from the pavement. A red car
Pedestrians leap out of the way of the wayward
As the car approaches, we see the driver is
INT. CITY STREET – NIGHT
(with a smirk)
Try to catch me now,
He tosses a stack of LOOSE BILLS out of the
Chaos ensues as PEOPLE rush into the street to
INT OR EXT
DAY OR NIGHT
Method of changing from
one scene to another
RULE OF THUMB
Every scene will CUT TO: the next if no transition is specified
If necessary to specify one, it appears against the right margin like this.
ALWAYS PRESENT TENSE
MIX UPPER AND LOWER CASE TEXT
RULE OF THUMB
LIMIT A PARAGRAPH OF SCENE ACTION TO 4-5 LINES
EACH PARAGRAPH IS A BEAT OF ACTION WITHIN YOUR SCENE
Scene action should only deal with what is happening on the screen and must never stray into thoughts or back-story.
Description of character must follow his introduction
INDENTED AROUND THE MIDDLE BUT NOT CENTERED 2.2INCHES
NAMES SHOULD BE CONSISTENT THROUGHOUT THE SCRIPT
1 inch 2 inches
WORDS THAT DESCRIBE
MUST BE IN CAPS
swerves through traffic. sedan. MACK ATTACK (20s), an unwashed cowboy whose eyes twinkle from lack of sleep. grab the money. window.
INT. POLICE STATION/OFFICE – DAY
SARGEANT PAUL GARCIA (55) slams down his
(to his SIDEKICK)
Mack is back.
EXT. POLICE STATION – NIGHT
I have something to tell you
I was born an alien.
Looking straight into her eyes. Pam (45), tall
Station one, we have a reported
murder on Boardwalk and Lee Street.
SLUG LINE W/SUBLOCATION SCENE ACTION
Sometimes it may be necessary to hear characters when we cant actually see them
OFF SCREEN MEANS THE CHARACTER IS PHYSICALLY PRESENT WITHIN THE SCENE, BUT CAN ONLY BE HEARD
(they are speaking from another room)
VOICEOVER IS USED WHEN THE CHARACTER IS NOT PRESENT WITHIN THE SCENE, BUT CAN BE HEARD VIA A MECHANICAL DEVICE SUCH AS A PHONE/RADIO.
ALSO USED WHEN CHARACTER NARRATES THE STORY.
blonde secretary, started CRYING.
INTERCUT - INT. POLICE STATION/HOME – DAY
I cant believe
this crime scene.
EXT./INT. POLICE STATION – DAY
(EXCITEDLY) Let me guess!
Revolutionaries? (LEANING IN CLOSER) Intent on
stealing my life’s work?
SLUG LINE Scene Heading will look like this when its necessary to CUT back and forth between locations in the same scene
IF YOU HAVE A SCENE WHERE THE ACTION IS CONTINUOSLY MOVING BETWEEN THE INT AND EXT OF THE SAME LOCATION, DO YOUR SCENE HEADING LIKE THIS
BUT USE INTERCUT FOR CUTTING BACK AND FORTH BETWEEN TWO SEPARATE PIECES OF ACTION INSIDE AND OUTSIDE.
SIGN-OFF A FILM SCRIPT WITH
THE END CENTERED ON THE PAGE,
CREATE A SET OF STORYBOARDS THAT
ACCURATELY VISUALLY DESCRIBE THE FILM
A visual script created by a series of pictures that conveys the essential shots of a scene.
With simple artwork, even stick ﬁ gures, the storyboard artist quickly and simply communicates to the entire team the visual components— broken down into individual shots—of the script.
The director should be able to determine the position of actors and the direction of their movements, and the type and framing of the shot (close-up, long shot, etc.).
Things to think about:
• Does your storyboard show the important shots that you want in your ﬁ lm?
• Does it show how the ﬁ lm sequence will be paced?
• Does the storyboard show the action that is happening?
• Could someone else outside of your group clearly understand what it is communicating?
STEP 1 STORYBOARDING
STORYBOARD EXAMPLE Nationwide Comcast Commercial
1. ROLES & RESPONSIBILITIES FOR THE SHOOT
As a team, decide what roles each of you will play to produce the scene that you have scripted and storyboarded.
Things to think about:
Who will manage the production from start to finish?
Who will direct? Who will shoot the film?
How will you create believable characters? Locations? Situations?
2. SHOOTING FROM THE STORYBOARDS
Based on the storyboards you created, film the shots required to completely tell the story described in your script and storyboards.
Things to Think About:
What is your job and what are your responsibilities for the shoot?
Are you recording sound you don’t want?
How will you light the scene to achieve your dramatic intent?
How will you create mood?
Do you have all the props and costumes you need on the day(s) you are shooting?
STEP 2 PRODUCTION & FILMING
Editing is to filmmaking as rewriting is to writing.
Storyboards are the outline.
Shooting is the first draft. And, like most first drafts, cut out the bad sentence structure/misspellings, and subtract and reconstruct to tell the story better!
The editor takes the jumbled pieces of film that come out of production, and, in consultation with the director and producer, transforms them into a coherent and well-paced story.
During the post-production step of the process, teams will perform the following tasks:
• Import video elements shot during the production step of the process.
• Use music, transitions and other effects to produce a finished final edit of the project.
STEP 3 POST-PRODUCTION EDITING
1. EXHIBIT - VIEW VIDEO ON SCHOOLTUBE
2. REVIEW - WRITE REVIEW ON CLASSROOM BLOG (EDMODO).
Remember: Convince the reader that you have something interesting to say about the film - the plot is trivial, the hero is not really a hero, the plot and characters are fine but the camera work is needlessly tricky, or whatever else you decide your main point be. Any opinion must be supported by examples.
Things to Think About:
Here are some basic, starting questions to ask yourself when writing your review:
Is the story original, how fresh or innovative is it?
Are the characters believable? What is the theme of the film?
Is the setting appropriate and effective?
Does the film make certain use of color, lighting, etc., to enhance the theme, mood and setting?
Is the sound track effective? Are camera angles used effectively?
Are there special effects in the film? If so, are they essential to the plot?
3. REFLECT After reading the individual reviews’, group members will reflect and reply to the classroom blog.