Script Writing: Introduction
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This document discusses the process of creating documentaries for television. It begins by noting that documentaries have a unique fiction unlike other forms, and are meant to raise awareness of important issues. It then discusses why engaging in television production through documenting real stories and issues in a compelling way that inspires and moves people. The bulk of the document outlines the three stages of planning, producing, and post-producing a documentary television program - from developing the initial idea, writing a screenplay or treatment, planning production elements, filming, and finally editing and finalizing the finished program.
Script Writing: Introduction
- 1. From script to screenFr. JoselitoJopson
- 2. DOING DOCUMENTARIESDocumentaries are fictions unlike any otherTask of documentaries is to awaken to certain important issues
- 3. Why engage in TV production?Because we want to – our passion and hobbyBecause we need to – It is a powerful tool of reaching outIt inspires peopleIt touches peoples’ hearts
- 4. Where is the place of TV in the Church?To provide footage for secular mediaIn TV Maria and Catholic stationsIn the Church, 5 mins. Before the massIn DVDs to be distributed to homes and communities
- 5. What does TV do to us and to the Church?It engages us It brings messages in compelling waysIt gives Jesus a human faceIt deepens our faithIt is a source of income
- 6. PRODUCTION PLANNING3 stages of planning:PreproductionProductionPost-production
- 7. Pre-productionDeveloping the program idea or “pitch”Program format / treatmentVisual potential / feasibilityFormal program proposal and shooting schedule
- 8. A screenplay is “a story told in pictures, in dialogue and description, and placed within the context of a dramatic structure”What is a screenplay?
- 9. Story concept: should be expressed in a single sentence called LOG: It is a story about a __________ who wants to ____________.Sources of story ideas:Adaptations of books, plays and short storiesContemporary true storiesHistorical events HeadlinesPersonal experienceStart if: “What if …?”Before you write …
- 10. An opening that hooks the audienceA final climax that satisfies their sense of storytellingIn between:A protagonist the audience relates toA central conflict around which all actions revolvesA central emotional line that determines the mood and viewpoint of the filmAll necessary main and supporting charactersEssential structure and content of every scene from beginning to endComponents of a good script
- 11. Introduction: the world of paradigm or models, like genreWhat is structure: a linear arrangement of related incidents, episodes, and events leading to a dramatic resolution.Act 1: beginning; introductionAct 2: middle; conflictAct 3: end; resolutionIn-between: Plot points – an incident, an episode, or an event that “hooks” into the action and spins it around into another direction or line of development.The three-act structure
- 12. SCRIPT
- 13. FACTORS OF PRODUCTIONTechnical – lights / sounds, etc.Legal and safety factorsAesthetic factorsAccess to locationInitial surveys Arrangements
- 14. RELEASES AND LEGAL ISSUESTalent release – adults and childrenLocation releaseLocation safetyUse of copyrighted music, film or tapeStock footage, sound effects and musicObtaining original music
- 15. PRODUCTION PLANNINGEquipment needsCrew assignmentsLabeling tapes in the field
- 16. EQUIPMENT CHECKLISTVideo – camcorder, tripod, filters Audio – microphones, connectors, wind screens, headphones, microphone batteries, audio mixersLighting – spotlights, soft lights, light stands, barn doors, replacement bulbsPower – batteries, extension cordsLegal – talent release, location permitsMonitors – headphones, AV cablesOthers – pocket knife, gaffer’s tape, makeup kit, props, set dressing, clothing and costume
- 17. PRODUCTIONCHECK ALL THE EQUIPMENT YOU NEEDCrew assignmentsLabeling tapes in the field
- 18. Ikaw ba to?
- 19. LIGHTS
- 20. LIGHTINGLighting: 3 point lighting: backlight, separate the agent from the backgroundKey light – main light, most powerful lightFill light – less powerful
- 21. LIGHTS
- 22. SHOOT TO CUT/ EDITPrinciple of BlinkingZoomingPanningDollyDon’t cut on anybody while they’re blinking / always open eyes5 secs Before, 5 secs. After
- 23. WHITE BALANCE
- 24. DEPTH OF FIELDAlso, note:ForegroundMiddlegroundBackgroundRule of 3rds
- 25. KINDS OF SHOTSXLSLSMSMCUCUECU2 SHOT
- 26. HEADROOM
- 28. MORE HEADROOM
- 29. WHERE NOT TO CUT
- 30. CAMERA RULESLEAVE ENOUGH HEADROOMLEAVE THE FRAME
- 31. 180 DEGREE RULE180 DEGREE RULE, DON’T CROSS EXCEPT … LINE OF SIGHT
- 32. CUTAWAYS
- 33. CUTAWAYS
- 34. POST-PRODUCTIONLog the tapesRough cuts / edit worksheetFinal edit – sweetening, renderingcopyrighting
- 35. THE TAPE LOG
- 36. SAMPLE EDIT LIST