Formatting help - zoom, pan, fx, flashbacks

[pasfreak]

Could anyone explain how to format the following?

-Zoom (insert in action? begin a whole new action line?)
-Pan (insert in action?)
-Special Effects
-Flashbacks (for ones within same episode, and in previous episodes)

Any help will be greatly appreciated.

Garrett

[wcmartell]

Zoom - cameraman's job, not yours. Leave it out.

Pan - cameraman's job, not yours. Leave it out.

Special Effects - just describe what will be seen on the screen, no reason to identify it as a special effect.

Flashbacks - hey! something that's part of our job! Just use a slugline:

INT. JOE'S HOUSE, 1934 -- FLASHBACK

or whatever works. Be careful - you need to make sure the audience understands the time change because they won't be seeing that slugline.

Also: all of the other stuff about flashbacks - Don't use them to plug plot holes, use them to move the story forward. Minimize time periods to minimize confusion (most films with flashbacks have one present and one past). Etc.

- Bill

[nickj]

As always, Bill supplies the correct answers.

As far as camera angles go, your writing needs to create an image in the reader's mind that has the same effect.

Start a new paragraph when you want a new camera angle.

"Joe's face. . ." or "Joe's eyes. . ." creates a close-up image of Joe. If you start a paragraph with "The clock on the wall reads 3:30," the reader immediately sees a shot of the clock.

"Joe scans the horizon. . ." invokes a pan.

"Joe gazes up. . ." indicates a tilt.

Of course the director's free to do what he wants. All you can do is try to convey your vision of the film to the reader.

[pasfreak]

Does the action need to be a complete sentence? Because sometimes it turns out to be a simple phrase. EX:

We PAN to a couple lying on the bed, a WOMAN under a MAN (whose face we do not see), the two engaging in a pre-sexual act, the man more aggressive.

Of course I will have to reword the "PAN" statement...


-Garrett

[ComicBent]

No, you do not have to write in complete sentences (though you get a gold star from me if you do! :) )

As for your example of the man and the woman, you are trying to set up the shot more than you should. Forget the stuff about whose face we can see. Just describe what is happening in a visual image or two; then let the director set up the shot. That is how it will be done, anyhow, no matter what you write.

[altoption]

The pan is the least of your problems. Read some screenplays. I'll say it again, read some screenplays. Your job as a writer is to write actions. Avoiding the passive tense is suggested. Or... Avoid the passive tense. You decide. And what on earth is engaging in a pre-sexual act? What does the man do that's aggressive? He kisses her roughly. Tears open her shirt. Sinks his teeth in her jugular. You get the idea.

Good luck with it.

[DUCPHO]

Ditto Mr. Martell. I would add one footnote about flashbacks. Don't forget, if using one, that you must end the flashback (scene (or) sequence) with a BACK TO PRESENT, unless, transitioning directly to another scene.

[ComicBent]

Okay, if you do not want the man's identity to be known, then you have to remark, in some way, that his face remains covered. You are correct.

[pasfreak]

A top TV writer is giving me a chance to write a spec script that he will read and pass around. So, forgive me for wanting my big chance to go off perfectly. The last thing I want is for this guy to tell me I know nothing about what I am doing. I'm not claiming to be a professional. Some professionals still have trouble with format. I ask questions to LEARN, not because I am an idiot, or someone who won't research on the internet. I can't trust websites, (that's why I asked the question about paper weight). I realize paper weight is the last thing I should focus on, but if you think about it, agents notice these things. They make a big deal about how many brads you have, so what makes you think they won't notice the paper is the wrong weight, or wrong brightness? It's better to ask, learn to do it properly, than to just wing a script and screw up my big chance to get into the business.

To me, learning how to do it properly before writing it, sure sounds like I'm on the "RIGHT foot." I've got my story planned out, the episode outlined, even the TEASER written. But before I proceeded, I only wanted to get some things clear....that's all...

[scripter1]

your questions are perfectly legit. When you're learning you don't always ask questions in the exact right order. They get asked when ever they pop into your mind.

Some people just can't help going around correcting everybody and being anal about everything.
When you're on any message board just brush off these kinds of comments. Take the advice that works for you, say thank you, and just ignore the rest.

When you're ready to hand a script over to someone you want to make sure it is perfect in every way. And there does seem to be a bit of "testing" going on in Hollywood.
Brads for instance. It should be two.
BUT what it always comes down to is STORY, STORY, STORY. Is there an awesome one or not?

If a great story isn't there paper weight and brads won't matter.