The Script and Production

Plan
“Stories can take us places of which we can only
dream. An audience will suspend their disbelief in
order to be swept into a story. We have to put
aside the idea that ‘men can’t fly’ to enjoy
Superman.”
The production plan: TheUnscripted
Production Plan

 There are some types of program that cannot be scripted. For example, sports
events cannot be controlled; you never know where they are going to go.
However, the director still needs to think through a quasi-script, or what is often
known as a production plan. These production plans are designed to map out
the general flow of the production, with contingency plans taking into
consideration that the event could take many unexpected turns along the way.
 The Outline Script: Semi-Scripted
Production

 The type of script used will largely depend on the kind of program being made. There will be some production
situations—particularly where talent improvise as they speak or perform—when the “script” simply lists details
of the production group, facilities needed, and scheduling, and shows basic camera positions, and so on.
 An outline script usually includes any prepared dialogue, such as the show’s opening and closing. When people
are going to improvise, the script may just list the order of topics to be covered. During the show, the list may be
included on a card held by the talent, a cue card positioned near the camera, or a teleprompter in order to remind
the host.
 Semi-Scripted Production Example

Sample Show Format :

Lists the items or program
segments in a show, in the order
in which they are to be shot. It
may show durations, who is
participating, shot numbers, and
so on
 Fully Scripted Shows

 When a program is fully scripted, it includes detailed information on all aspects of the
production, as described in the following subsections:
1. Scenes

 Most productions are divided into a series of scenes. Each scene covers a complete
continuous action sequence and is identified with a number and location (Scene 3—
office set). A scene can involve anything from an interview to a dance routine, a song, or
a demonstration sequence.
 Fully Scripted Shows

2. Shots

 When the director has decided how he or she is going to interpret the script, each scene will be
subdivided into a series of shots; each shot shows the action from a specific viewpoint. The shots are then
numbered consecutively for easy reference on the script, in the order in which they will be screened
3. Dialogue

 The entire prepared dialogue, spoken to the camera or between people. The talent may memorize the
script or read it off teleprompters or cue cards.
 Fully Scripted Shows

4. Equipment

 The script usually indicates which camera/microphone is being used for each shot
(Cam. 2 Fishpole).

5. Basic Camera Instructions

 Details of each shot and camera move (Cam. 1 CU on Joe’s hand; dolly out to long
shot).
 Fully Scripted Shows

6. Switcher (Vision Mixer) Instructions

 For example: cut, fade.

7. Contributory Sources

 Details of where video recordings, graphics, remote feeds, and so on appear in the program.
 Basic Script Layout Formats

 There is not one standard script layout. Script layout styles can vary widely. Some prefer a
single-column cinematic format, with transitions in a left margin, and all video and audio
information in a single main column. Other versions use two vertical columns, with picture
treatment (cameras, switching) on the left, and action and dialogue on the right, together
with studio instructions and lighting/effects cues.
 Directors often mark up their script by hand with their own instructional symbols to indicate
transitions and shots. Software is available that provides multiple script formats.
 Two-Column Format

 Like the one-column format, there are many variations of the two-
column format. This traditional television format is extremely
flexible and informative. It gives all members of the production
crew shot-by-shot details of what is going on. They can also add
their own specific information (e.g., details of lighting changes) as
needed.
Scriptwriting Basics

 The program’s main purpose: to amuse, inform, intrigue,

persuade, and so on.
 It must be practical:The script must be a workable vehicle for
the production crew.
 Scriptwriting Basics

 Fundamentally, we need to ensure that:

 The script meets its deadline. When is the script required? Is it for a specific occasion?
 The treatment is feasible for the budget, facilities, and time available. An overambitious script will necessarily
have to be rearranged, edited, and have its scenes rewritten to provide a workable basis for the production.
 The treatment usually must fit the anticipated program length. Otherwise, it will become necessary to cut
sequences or pad the production with added scenes afterwards to fit the show to the allotted time slot.
 The style and the form of presentation are appropriate for the subject. An unsuitable style, such as a lighthearted
approach to a very serious subject, may trivialize the subject.
 The subject treatment is suitable for the intended audience. The style, complexity, concentration of information,
and other details are relative to their probable interest and attention span.
Scriptwriting Basics

 Ask Yourself

 Who Is the Program For? What Does Your Audience Already Know?

 What Is the Purpose of This Program?

 Examples: entertainment, information, instruction, or persuasion (as in advertising,

program trailers, propaganda). Is there a follow-up to the program (such as publicity
offers or tests)?
 Scriptwriting Basics

 Is the Program One of a Series?

 Does it relate to or follow other programs? Do viewers need to be reminded of past information? Does the script
style need to be similar to previous programs? Were there any omissions, weaknesses, or errors in previous
programs that can be corrected in this program?

 What Is the Length of the Program?

 Is it brief? Must it make an immediate impact? Is it long enough to develop arguments or explanations for a range
of topics?
 Scriptwriting Basics

 How Much Detail Is Required in the Script?

 Is the script intended to be complete with dialogue and action (actual visual treatment depends on the director)? Is the script a basis for improvisation (e.g., by
a guide or lecturer)? Is it an ideas sheet, giving an outline for treatment?

 Are You Writing Dialogue?

 Is it for actors to read, or inexperienced performers? For the latter, keep it brief, in short “bites” to be read from a prompter or spoken in their own words. Is
the dialogue to be naturalistic or “character dialogue”?

 Is the Subject a Visual One?

 If the subjects are abstract, or no longer exist, how will you illustrate them?
 Scriptwriting Basics

 Have You Considered the Script’s Requirements?

 It takes only a few words on the page to suggest a situation, but to reproduce it in pictures and sound may require considerable
time, expense, and effort (e.g., a battle scene). You may have to rely on available stock library video. Does the script pose
obvious problems for the director (e.g., a script involving special effects, stunts, and the like)?

 Does the Script Involve Costly Concepts That Can Be Simplified?

 An intercontinental conversation could be covered by an expensive two-way video satellite transmission, or can it be
accomplished by utilizing an online telephone call accompanied by previously acquired footage or still images?
Scriptwriting Basics

 Does the Subject Involve Research?

 The script may depend on what researchers discover while investigating the subject. Do you already have
information that can aid the director (have contacts, know of suitable locations, availability of insert material,
etc.)?

 Where Will the Images Come From?

 Will the subjects be brought to the studio? This allows maximum control over the program treatment and
presentation. Or will cameras be going on location to the subjects? This may include situations such as
shooting in museums. Script opportunities may depend on what is available when the production is being
shot.
Guidelines

 Start Scripting with a Simple Outline

 Before embarking on the main script treatment, it can be particularly helpful to rough out a skeleton version,
which usually includes a general outline treatment, covering the various points that need to be included, in the
order in which the director proposes dealing with them.
 Visualize

 Sometimes pictures alone can convey the information more powerfully than the
spoken word.
 The way a commentary is written (and spoken) can influence how the audience
interprets a picture (and vice versa).
 Pictures can distract. People may concentrate on looking instead of listening!
 Avoid “talking heads” wherever possible. You may want to show the subject being
talked about, rather than the person who is speaking.
 Avoid Overloading

 Keep it simple. Don’t be long-winded or use complicated sentences. Keep to the

point. When a subject is difficult, an accompanying diagram, chart, or graph may
help make the information easier to understand.
 Do not give too much information at a time. Do not attempt to pack too much
information into the program. It is better to do justice to a few topics than to cover
many inadequately.
 Develop a Flow of Ideas

 Deal with one subject at a time. Generally, avoid cutting between different topics.
 Do not have different information on the screen than in the commentary. This can be
very distracting and confusing to the viewer.
 Aim to have one subject or sequence lead naturally into the next.
 When there are a number of separate different topics, think through how they are
related and the transitions necessary to keep the audience’s interest.
 Consider the Pacing

 Vary the pace of the program. Avoid a fast pace when imparting facts. It conveys an
overall impression, but facts do not sink in. A slow pace can be boring or restful,
depending on the content.
 Remember that the audience cannot refer to the program later (unless it is interactive
or they have a video player). If they miss a point, they may fail to understand the
next—and will probably lose interest.
 Watch Your Style

 Use an appropriate writing style for the intended viewer. Generally aim for an
informal, relaxed style.
 There is a world of difference between the style of the printed page and the way
people normally speak. Reading from a prompter produces an unnatural, stilted
effect.
 Be very careful about introducing humor in the script!