Scripting
Script layout
Most studio scripts follow a standard layout:
Two columns
Left hand: shot number, camera number and shot description
Right hand: script, stage instructions and sound effects
Cut lines, places at the end of the word/action at which the cut is planned to take place
Vision mixer can then follow this and react in enough time to perform the cut.
Adding additional shots, if you decide to add more shots, say during rehearsal, these are amended as letters after the shot number. You need to make sure that the camera operator is aware of this and can add it to his camera card.
Example:
Camera cards
These are provided so that camera operators can see which shots they are responsible for and the shot description. They are used during rehearsals and during transmission and are also known as 'crib cards'
Layout;
Top of the page needs to contain camera number and programme name
Underneath-4 columns for the-shot number, area of the set featured-shot description-space for the operator's notes.
They can be created once the director has finished with the script, the director needs to ensure they are accurate and up to date. Make sure information is clear and concise, allow space for extra shots to be added during rehearsals sometimes decisions about shots are made 'on the hoof', such as for interviews or demonstrations. In this instance you should simply state the primary role of each camera (details are then given 'as directed')
Example
VT Scripts
VT scripts should include:
Title- should match the title on the VT clock and the script IQ (In Cue)
QQ (out words- first/last few words of the VT are written on VT script so everyone knows when the VT is about to start/finish
Duration of the VT needs to be ACCURATE
Capgens- information about captions and when they should appear on the VT
NB- each piece of VT should have bars/tone and clock with appropriate idents
Script content
Decisions need to be made as to how much scripted content the programme contains. If there is a lot of script for the presenter, prompts will be needed. However, for shorter pieces the presenter can learn their lines and refer to printed index cards for key info.
Intros & Outros
When using VT it is usually necessary to script intros and outros to each package. These need to be carefully scripted so that you 'knit' into and out of each package and therefore make neat transitions between different segments of the programme.
Links
Similarly, your presenter can deliver links which take you from one part of the show to the next.
These can be loosely written so that the presenter can adapt to suit their own style. Write with the tone of the show in mind and if possible the style of the presenter. If links are long they usually require autocues.
Good links should, as with intros, neatly knit in and out of segments.
Prompt cards and prompters
Prompt cards should be simple and contain the essential cues and basic info necessary for each segment of the show.
Basic script lines can be learnt by wrote, however longer segments world necessitate the use of a prompter (autocue).
AD libs
You can leave segments to the presenter to ad lib and simply give guidance on the script and prompt cards to 'ad lib'. Again this is a skilled business and should be rehearsed to ensure: Timings work. basic idea for ad lib is established and confident AD libbing has the advantage of feeling 'natural' and 'free-flowing' however this is a mixed blessing as: timings can go awry, ad lib may feel unprofessional.
Before you consider an ad lib section you need to ensure that:
Your presenter is well prepared and versed in the topic to be covered in the ad-lib
The person with whom they are conversing is a good talker and is well prepared
During the recording the producer will need to keep an eye on timings with the aid of the PA and if necessary direct the presenter via talkback as to the direction of the conversation as well as key points
The A.P. should be briefing those on the studio floor and in the green room prior to the record to ensure everyone knows what is expected of them and that they have the appropriate info to do the job.
Timings
Many elements of the script (notably anything which isn't on an autocue), will necessitate approximate timings.
It's important to keep on top of timings through out the preproduction and record process. Magazine shows often have flexible scripts - effectively the running order is developed with preferred estimates on durations.
The PA is key to working out how much time must be added/lost from the subsequent items if things under or over run on their estimated durations. Adding minutes and seconds quickly is an essential skill.
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This lecture helped me understand how my role as Gallery PA affects the script, I need to collaborate with my fellow PA Jemma and the producers to make sure the script gets written on time and everyone is happy.
This could require us to act out/read out the script, what ever allows us to fully know how long each segment will take.
