CINEMATICS 1: CLASS 03

Cinematics 1: Class 3 

STORY (Today's session will discuss):

• Script 
• Format 
• Camera 
• Course Overview (revisited)

Course Overview:  pre break

Course Overview: post break 








Grading Breakdown:

Basic Structure of a Script

• STORY 
• ACTS 
• SCENES (also called sequences)  
• SHOTS (also called scenes) 

YOUR Cinematic: Story? Trailer? 

1. CINEMATIC BASED ON STORY: 
all stories must have a beginning, middle and end. The ‘star’ must have a goal & an opposition to that goal (providing tension). 

2. CINEMATIC BASED ON SHOWCASING IDEA (TRAILER): 
non-narrative structure using rhythm, music or other devices to provide structure. Also try to introduce concept of pacing and tension to structure. 

Format Your Script 

• Start with TITLE (all caps, in bold or underlined), Author, Date, Credits (based on?) – 1/3 of way down page 
• Cast list or speaking characters with brief 1 sentence bios for each 
• on second page. 
• Left justified for body of script, Character names over dialogue centered, Dialogue indented further. 
• “FADE IN” – “FADE OUT” starts & ends 
• Scene intro ALL CAPS:  
• LOCATION, INT, EXT 
• LOCATION DETAIL (ship’s cabin) 
• TIME OF DAY 
• CAMERA SHOT (close up? Long shot?) 
• ALSO IN CAPS: SFX, FX, Character names, Props 
• Acting direction in parenthesis () under Character name.  
• White 8 ½ x 11 paper, Courrier 12 point font 
• About 52 lines/page 
• Top margins 1”, left 1 ½ “ and right ¾ “ 

From The Iron Giant script

From The Iron Giant script

MOVING FROM TREATMENT TO SCRIPT 

• Just start! You can edit as you go!  
• Now we want to take those beats or key points from our outline and write each scene with focus and polish. Flesh it out and consider: 
• What will the scene accomplish? 
• Where and when does it take place? 
• Who’s in this scene?Which character is driving this scene? 
• Where is the tension or conflict? This scene? The previous scene? The next scene? 
• Does the audience know something the hero/villain doesn’t? 
• Are you revealing character and motivations through each characters’ behaviour? 
• Does the scene have a catalyst at the beginning? Scenes usually do. 
• How are you going to make it funnier or more dramatic without relying on cliches? 
• Use complications, obstacles, sudden reversals, relationships and subtext....

• Scenes can be as long or as short as needed to tell a story and fit into the pacing of the whole. 
• You want only the essence. Never the unnecessary!  
• Once you’ve made your point, the scene is over.  
• Grab the audience with the opening, or they won’t stay for the rest! 
• Every scene must be visually interesting and rarely “talky” unless it’s of vital importance to the 
• development of the story. 
• Keep descriptions to a line or 2 (unless necessary). 
• Put in the motivations. Add complications. 
• Avoid complicated visual ideas, subtleties, or unknown actions where explanation is necessary.  

Fitting scenes together  

• When constructing your cinematic, think of each scene as part of a whole story: 
• Each scene fits into the rhythm of the whole. 
• For pacing, action scenes may need to be broken up with quieter, character-building scenes, or comedy. 
• Vary scenes and sequences. Vary location. Vary shots. 
• Cut between lengths. Vary pace. 
• Would your scenes be more effective arranged differently? 
• At the end of a scene you want your audience eager to find out what will happen next!

Checklist 

Once you’ve created your scene, ask yourself the following to check: 
Does your scene accomplish everything you think it should? 
Does it stay focused on the plot and characters? 
Is the scene clear? Is it easy to understand? Will the audience believe it? 
Be sure the scene is visual. Don’t try to depict interior motivations or ‘thinking’. 
Is it too long? Does it repeat itself unnecessarily? We may need to repeat things for effect or to ensure comprehension but don’t overdo it! 
Does the scene make us want to know what happens next? 
Is it entertaining? Funny? Emotional? Tense? How can these be heightened? 
Avoid dialogue in stories this semester – we have no audio capabilities at GBC Game Dev. 

Keep up the Pace! 

Use the essence. Break up the action and increase the pace with cuts. 
Cuts keep the story moving. 
Action. Reaction. Keep the sentences short, use strong verbs, make it flow. 
Timing is everything. 
Revisit what you have written and edit, edit, edit!  

Be Clear!  

Animation scripts tend to include the camera shots, as if the writer is directing the story. The 
Script then goes to storyboard artist to visualize based on script’s direction. 

Use the following check-list to help you refine your script: 

• Be CLEAR.  If you have to explain it, it needs rewriting. 
• Is the structure all there? (Hero with motivation, villain to thwart...) 
• Do you start with action? Plenty of suspense and intrigue throughout? 
• Will it work well as a storyboard? As a cinematic? 
• Are your characters acting and speaking “in character”? 
• Don’t be wishy-washy! Is your villain really bad? Is your hero relatable? 
• Are the relationships believable? 
• Is the dialogue as sharp and witty as it could be (if you must use 
• dialogue)? 
• Smooth the transitions! Think about FLOW. 
• Be sure nothing is too subtle to animate or be seen on smaller screens. 
• If something bothers you, trust your instinct and cut it / rework it! 
• Is your script format correct and consistent? 
• Check spelling and grammar. 
• Check for typos! 

SCRIPTS DUE WHEN? 

• Tuesdays class: Scripts due Sept 24 
• Mondays class: Scripts due Sept 30

TODAY:  

Cinematics Worth Viewing:  

• ‘Radio Animation’ – check out any episode of The Simpson’s. This technique uses expository dialogue to make up for limited animation. 
• Cinematics with limited or no dialogue? Suggestions? Does it communicate? How does it communicate with no dialogue? 
• In-Class work time:  
• Start script (30 min)