Showing posts with label Format Skrip. Show all posts
Showing posts with label Format Skrip. Show all posts
by skripsketch
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CHARACTER vs Actor

Technically,
  • nama character ditulis dengan HURUF BESAR pada setiap dialog; pada pengenalan dan 
  • punyai nama sebenar character
MR. MARSCHAL leans over his gate and stares at Cole for afew seconds.

MR. MARSCHAL
Guten Tag, Cole.

Mr. Marschal has a thick German accent. The old man squints down the block with a concerned expression. 

COLE
What's wrong? 

MR. MARSCHAL
Mrs. Marschal. She went food

shopping. She's running late.
  • optional memberi gelaran POLICE#1, POLICE#2 (this is so not advisable, actually)..
  • ataupun, character tanpa nama tetapi hanya dikenali sebagai melalui pekerjaannya ataupun perwatakannya
THE WOMAN'S VOICE IS COMING FROM A VIDEO PLAYING ON THE VCR.IT'S A WEDDING VIDEO. A LARGE WOMAN IN A BRIDESMAID DRESS STANDS HOLDING THE MICROPHONE. IN THE BACKGROUND, WE CAN SEE THE DANCE FLOOR.

BRIDESMAID
(T.V.)
No doubt about it. Anna's
like mysister. You better make
her happy... And I'm not talking
about -- mmm this tastes like real
butter -- kindof happy... I'm talking
about Julie Andrews twirling around
like a mentalpatient on a mountain
top -- kind of happy.
  • Contoh lagi..(watak yg tiada dialog)
Dr. Hill hands his files to MRS. SLOAN and exits the reception room without looking back.

Everyone in the reception room stares at Lynn. Mrs. Sloanwalks up to the table and waits. 

Lynn takes a second. Wipes her eyes. Gathers herconsiderable strength. Beat.

 In general, writer need to
  • create, build up and evolve the character along the story sbb character yg akan drive the story
  • relate character's surrounding, background, the logic, reaction/respond, thoughts and emotion
  • establish basic component untuk "setup" a character
  • latarbelakang pekerjaan/profession
  • social worker? professional lawyer?
  • dressing, speaking, knowledge level/sense 
  • personal background
  • married? divorced? school drop-out? royal family?
  • hobby?  mentally, psychology disturbed?
  • personality & capability 
  • aggressive? soft-spoken? penakut? fierce?
  • pantang dicabar? potensi buat jenayah? 
  • above basic component boleh disesuaikan dlm pembinaan variety of scene/babak ie. tpt kerja, reaksi kecemasan, etc. Takde le asyik-asyik scene makan minum jekkk...
ACTOR (in my opinion)
  • is actually an entity yg akan drive the whole story in good way, or the way around. Meaning, selecting the RIGHT actor is crucial
  • is someone can translate/portray watak dalam skrip/cerita ke bentuk imej.
  • adalah imej yg berdialog dan/atau bergerak
  • is not acting, but it's the character; "Don't act. Be" - meaning, don't act like you're looking for a needle; instead, look for a needle
  • have willingness do some/major transformation according to the character ie. to be a rebel person need to change of clothing/hair/look/appearance, speech/accent, walk, body language, etc.
  • among notable character 
by skripsketch
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ACTION, DIALOG and DUAL-DIALOG

ACTION
  • merupakan penerangan keadaan, tempat, babak, dan juga character melalui imej 
"Di dalam sesebuah lakon layar, elemen aksi ini lebih penting daripada dialog kerana sesebuah filem yang baik amat bergantung kepada kekuatan aksi yang dapat memberi pemahaman yang jelas kepada penonton dan dialog pula berperanan untuk menguatkan lagi aksi. Ini kerana filem bergerak di atas visual cerita." - Zaini Kosnin 
  • ditulis/dihuraikan pada real-time (not past tense)
  • tulis dgn ringkas dan jelas dalam 4-5 ayat shj (mudah utk reader scan/run through)
  • gunakan huruf besar pada nama character utk pengenalan buat kali pertama
INT. LAUNDRY ROOM - MORNING

A hand turns off a radio, shutting off the morning news.A small dog with two different colored eyes sticks his head out of the dryer, where he plays with the newly-dried clothes. LYNN SEAR reaches in and pulls out a blouse. She shakes it in the air
  • avoid ayat arahan (dlm skrip) utk menuju hala camera (ini tugas Director). Jika nak juga, guna 
a) perkataan dengan huruf besar; atau
Malcolm smiles. Returns his fingers to the mind-reading position. Malcolm looks to Cole's arm. Cole is wearing A LARGE SILVER WATCH. It swims on his thin wrist. It could probably slide up to his shoulder. Malcolm closes his eyes.

b) asingkan ayat dengan perenggan yg lain
Cole carefully locks the door behind him. He moves to the bottom of the stairs and looks around nervously. Anxiously.

The eight-year-old child reaches into his pocket and slips on a pair of VERY LARGE GLASSES.

  • ada contoh action (shown below) yg menggunakan tanda -- which aku take sure apa function, mcmana nak guna whatsoever..
INT. KITCHEN - NIGHT

Lynn is kneeling on the kitchen floor trying to coax thepuppy out of the broom closet.
COLE (O.S.)

Momma.

Lynn turns -- surprised to hear her son's voice. Lynn'seyes are red from crying. She wipes them quickly with theback of her hand.

Mother and son look at each other. Beat.

  • penggunaan "WE"/"we" dalam arahan/action yg aku rasa utk mencadangkan director hala tuju / fokus imej/skrin. This thing, aku rasa; it's more to writer's styling..
COLE'S EYES LOOK AROUND THE ROOM WARILY... WE MOVE IN ONTHEM -- TILL HIS EYES FILL THE FRAME.

Beat.

And then we see what he's staring at. Through Cole's hospital room window we see the adjacent wing of the hospital building. Rows of hospital room windows are visible. In the windows are patients... SOME OLD, SOME YOUNG... SOME ARE DRESSED IN MODERN HOSPITAL GOWNS... SOME FROM DECADES PAST. 

THEY STAND UNNATURALLY STILL IN THEIR WINDOWS... WATCHING, WAITING.


 DIALOG
  • merupakan butir perkataan yg perlu diucapkan oleh pelakon; samada 
  • antara dua individu,
  • berkata-kata kuat secara sendirian
ANNA'S MUFFLED VOICE CARRIES DOWN THE STAIRS.

His face turns up to the ceiling.

 MALCOLM
(loud)
Are you calling me?

WE HEAR ANNA'S FOOTSTEPS MOVE ACROSS THE BASEMENT CEILING. WE HEAR THE FRONT DOOR OPEN.

 ANNA (O.S.)
What? You don't see enough of me at
the store?

Malcolm gets up and moves closer to their voices as he stretches his legs. 

  • It's good kalau writer membaca/ucap dengan kuat dialog yg telah ditulis utk mendapatkan realistik, character ataupun mood.
  • Keep change and improve sehingga lancar..
  • some great dialog/line/phrase can become famous
  • dari dialog, audience bole dapatkan passion and soul of the character
NELSON
Sara, stop it. Will you please
stop this, I'm not leaving you --
I know you love me.

SARA
I do, Nelson. I've never felt
anything like it. I never thought
I'd have the chance and you gave
that to me.

NELSON
Then why are you doing this?

SARA
Because it's starting to happen, 
Nelson --

NELSON
-- It doesn't --

SARA
-- If you leave now, everything
we had will stay perfect forever --

NELSON
-- Sara --

SARA
-- All we have is how you'll
remember me and I need that memory
to be strong and alive --

NELSON
-- But I want --

SARA
-- If I know I'm remembered that
way then I can face anything.
Can't you see, Nelson, you're my
immortality.

NELSON
I want to take care of you, Sara.

SARA
I'll be alright. I'm going home.
They know I'm coming. They're
ready.
(beat)

  • contoh dialog di atas ada byk pengunaan -- which again, aku pun tak sure. But I think, it's kinda pause for a moment thing. Or, is it utk buat dialog ucapan sedikit berbisik??
DUAL-DIALOG
  • jika ada dua character sedang berdialog secara serentak (dual-dialogue), ayat ucapan dibahagikan kepada dua bahagian (two columns) bersebelahan menunjukan ucapan secara serentak diperlukan.
  • ada juga contoh format yg sedikit berlainan (lihat contoh di bawah); but still OK..

by skripsketch
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Penggunaan CUT TO:, DISSOLVE TO: dan FADE TO:

Ketiga-tiga CUT TO:, DISSOLVE TO: dan FADE TO: digunakan pada Transition. Kalau diikutkan definisi,

 CUT TO: Digunakan secara terus (sharp change). Penggunaan apabila berlaku
  • perubahan scene/babak 
  • perubahan lokasi, persekitaran dan 
  • peralihan emosi character. 
  • scene diambil dr end-to-end tanpa image effect
  • imej hilang serta merta ke imej yang lain..
  • Contoh:

JAKE
(kisses her cheek)
It was really fun.

JANE
(painfully)
It was.

 CUT TO:

A TREE LINED MONTECITO LANE - MOVING SHOT - DAY

We are looking THROUGH A WINDSHIELD and listening to a SELF HELP BOOK ON TAPE.

DISSOLVE TO:  Penggunaan apabila berlaku perubahan yang beransur atau secara perlahan seperti beralih ke arah tempat yg berlainan. Biasanya digunakan untuk menunjukkan perjalanan masa.
  • imej digambarkan "vanish"/hilang secara perlahan
  • terdapat penggunaan image effect..cth; jadi blur.. which, got cost to do it
  • Contoh: 

EXT. POOL AREA/BACKYARD - MIDDLE OF THE NIGHT 

Jane lies on a pool chaise, wrapped in a blanket, tissues in hand. She stares up at the night sky and as her eyes flutter shut, we drift off of her... 

 DISSOLVE TO: 

EXT. JANE’S POOL/BACKYARD - EARLY MORNING 

CAMERA DRIFTS ACROSS THE POOL TO JANE, asleep on the pool chaise, still wrapped in a blanket. The sprinklers go off and wake Jane. She opens her eyes, looks around, realizes she’s spent the night outside.

FADE TO: Hampir serupa dengan DISSOLVE TO: cuma
  • FADE TO: digunakan bermula dengan satu imej/gambaran pegun (still/freeze picture) dan scene/babak kemudiannya timbul menjadi fokus pada skrin
  • manakala DISSOLVE TO: pula, terbalik; iaitu, pada permulaan scene/babak seakan hilang pada skrin sementar scene/babak seterusnya menjadi pegun (still).
Sangat mengelirukan utk menggunakan DISSOLVE TO: dan FADE TO: sebab ia lebih kepada teknik utk pengarah filem (mengendalikan effect yg sebagaimana yg sesuai). Jadi, tak perlu pening kepala - try to avoid! Or, else, other people will confuse.

 Ada contoh transition yg lain seperti SMASH CUT:, MATCH CUT:, FADE OUT:, WIPE TO:, PAN TO:, QUICK CUT:, TIME TO:, etc. Again, this is just technic; which is terpulang kepada penulis.

 In general, penulis skrip hanya menggunakan CUT TO: untuk menunjukan tanda tamat/tukar sesebuah scene/babak. Most scripts yg aku baca/refer, hanya guna CUT TO: at minimum usage je. Meaning, tiada penggunaan "tamat scene" ni pun ok...(sebab ada heading/slugline)

 More reading, from Wikipedia "DISSOLVE (filmmaking)"
 Here's from Wikipedia definition..
Use CUT TO: and DISSOLVE TO: from Wikipedia


by skripsketch
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Penggunaan CONTINUOUS, MOMENTS LATER dan LATER

Ada yg kata, cuba kurangkan penggunaan CONTINUOUS, MOMENTS LATER dan LATER ni jika tak pasti penggunaannye sbb dikhuatiri akan membuat reader keliru; and worst, ScriptWriter sendiri boleh terkeliru..

 Penggunaan pada Heading / Slugline untuk menunjukkan kesinambungan antara dua scene yang tidak jauh lokasinya. 

 Contoh dari skrip filem MILK 
INT. CITY HALL / SUPERVISOR'S OFFICES - MOMENTS LATER

Harvey leads Cleve down the hall of Supervisor's offices, passing Dianne Feinstein's open door.

 HARVEY MILK
And street talk only around
Feinstein, shit, goddamn, fuck, all
that. It bugs the shit out of her.

They arrive at his Lead Aide's desk: it's Anne Kronenberg.

 ANNE KRONENBERG
David Goodstein and Rick Stokes
called again. They want a lunch.

HARVEY MILK
Morning to you too Annie-pants,
Lets set Cleve up on mail. And what
about a return call from Briggs?

ANNE KRONENBERG
He's got no clue who you are.

 HARVEY MILK
Doesn't he read the newspapers?

CLEVE JONES
We're not sure if he's literate.
He's from Fullerton.

A big grin from Harvey as he heads into his office.

INT. CITY HALL / HARVEY'S OFFICE - CONTINUOUS

Harvey walks in. Michael is already there proofing a Bill.

 HARVEY MILK
That's our new Citywide Gay Right's
ordinance. What do you think?

MICHAEL WONG
How close are you?

HARVEY MILK
6 to 5 a week ago, but now it looks
like we'll get a unanimous vote. A
damn good warning shot for Briggs
against his prop 6 bull-shit.

MICHAEL WONG
Come on, Dan won't vote for this.
by skripsketch
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Kapasiti Skrip

Contoh skrip mukasurat 2 Interview with the Vampire

Standard rules:

  • menggunakan kertas bersaiz A4 (8.5 inches X 11 inches)
  • jenis tulisan (font type) Courier bersaiz 12 point; pitch 10; no bold, no italic
  1. untuk mudah baca - director, actors, producer, ALL.
  2. untuk measure timing (approx. 1 minute per page). Meaning, running 120 minutes movie = approx. 120 pages. So, anggaran 95 hingga 125 m/s memadai. As for produksi, if the movie/film running less than 120 minutes (<120 pages), meaning the film fit to cinema timing allocation (avg. 2 hours per movie). If >120 minutes, cinema would have less movie showing in that day. Selective scenes are critical for script writer to decide.


Page margin: 1.5" left, 1" right, 1" top, 1" bottom - untuk beri ruang tulis nota sendiri, binding, clip, etc.

 Well, above adalah untuk yang guna word processor untuk menaip skrip.

 Ada perisian (software) khas untuk menulis skrip (pre-programmed rules) seperti

by skripsketch
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Penggunaan O.S., O.C. dan V.O.

  1. O.S. = Off Screen ataupun kadang-kadang menggunakan O.C. = Off Camera
  2. V.O. = Voice Over

Kedua-duanya hampir sama iaitu mengeluarkan suara/dialog ataupun bunyi kelihatan pada skrin; tapi sedikit perbezaan dalam penggunaannya - di manakah suara itu?

 O.S. digunakan semasa character di lokasi/scene; tapi tak nampak pada skrin. Contoh; suara jeritan dari dalam bilik tidur.

 V.O. pulak, digunakan semasa si-pemberi-ucap (speaker) secara fizikalnya tiada di lokasi/scene. Contoh; suara dalam telefon (dari pihak yang lagi satu), radio broadcast, suara narrator ataupun suara monolog (cakap pada diri sendiri).

 Ada juga situasi di mana, charactor ada/muncul pada skrin dan kedengaran suara-pemikiran (heard-thought); menggunakan V.O., dan bukannya O.S.

 Aku jumpa skrip Fight Club untuk jadi contoh penggunaan O.S. dan V.O.
EXT. PARK - AERIAL VIEW - (FLASHBACK CONTINUOUS)

Bob, the Mechanic and Ricky FLEE, LAUGHING at their handiwork. They split up, running O.S.

 MECHANIC (V.O.)
We had it all worked out, man. It
went smooth... until...

HARSH VOICE
Police! Freeze!

O.S. SOUNDS of GUNSHOTS and FLASHES of MUZZLE FIRE.
Contoh V.O. yang lain aku ambik dalam The Curious Case of Benjamin Button
She’s interested. She looks over at her mother. But her mother's eyes are closed...

 CAROLINE (CONT’D)
“My name is Benjamin...”

And Caroline’s voice becomes a young MAN'S voice...

 A MAN’S (V.O.)
“Benjamin Button... and I was born
under unusual circumstances.”
by skripsketch
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Penggunaan Beat, CONT'D dan MORE

Ada aku jumpa banyak perkataan "beat" dan "CONT'D" dalam skrip filem Hollywood. Apa yang aku faham, beat bermaksud "pause" iaitu berhenti seketika dalam beraksi ataupun berdialog. "CONT'D" pula adalah singkat perkataan CONTINUED, maksudnya sambung semula..

Contoh 1..
Anna stirs sugar in her coffee as Malcolm sits in the seat across from her. She gently stops stirring, but doesn't look up. Beat.

 MALCOLM
I thought you meant the other Italian
restaurant I asked you to marry me in.

Anna isn't laughing. Not even close.

 MALCOLM (CONT'D)
I'm so sorry.
(beat)
I can't seem to keep track of time.
Contoh 2..
   on page 31
CLICK.

MALCOLM
April or March of Eighty-seven. Two
weeks into sessions with Vincent
Gray. I was treating a couple, Donald
and Robin Wagner, who had lost their
child to Leukemia. They were waiting
with Vincent in the reception room
of the downtown clinic.
(MORE)


   on page 32
MALCOLM (CONT'D)
They were alone together maybe fifteen
minutes. When I entered the room,
all three were crying. The Wagner's
progress from that afternoon was
dramatic and sudden .... As if some
door had been opened for them.
(beat)
by skripsketch
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Komposisi Skrip

Skrip dari filem Hannah and Her Sisters

Cara penulisan skrip terbahagi kepada berberapa bahagian/komposisi iaitu..

a) Heading ataupun Scene Heading
  • juga dipanggil/dikenali sebagai "Slug Line"
  • Merupakan pernyataan ataupun pengenalan kepada scene/babak
  • dikenalpasti apabila ada perkataan INT. ataupun EXT. 
  • contoh
INT. AIRPORT LOBBY - DAY

 b) Action
  • Penerangan dan perincian scene/babak termasuk pergerakan character dan bunyi-bunyian.
  • contoh
The sounds of TYPING rise above all the rest as MAX sits at his computer writing his essay. He stops to sigh. Looks at what he's written. Reaches over to the mouse. Highlights it all. And erases it. 

c) Character
  • Nama watak
  • HURUF BESAR nama character bagai pertama kali diperkenalkan di dalam Action. Seterusnya ditulis seperti biasa.
  • contoh penulisan berkaitan charactor dalam Action
The limo pulls up to the curb. DAISY, an elderly woman sits in the car as MORGAN, the driver, steps out and opens the door for her. Daisy is dressed in evening-wear, ready for an Opera. 

  • nama watak ditulis pada bahagian tengah mukasurat. Ini adalah format standard. (Ada juga meletakkan pada bahagian kiri - aku tak setuju).   
  • contoh
DAISY
You've been a darling, Morgan. Here's 
twenty dollars.

 d) Dialog
  • perkataan yang sepatutnya diucapkan oleh charactor.
  • ditulis pada baris bawah nama watak. Sekiranya watak memerlukan reaksi (lihat Parenthetical), jadi, dialog ditulis selepas Parenthetical  
  • contoh
DAISY
You've been a darling, Morgan. Here's 
twenty dollars.

 e) Parenthetical
  • penerangan reaksi (yang logik) watak sebelum atau semasa berdialog 
  • charactor perlu menyampaikan maksud yang cuba disampaikan oleh penulis 
  • digunakan jika perlu sahaja kerana dikhuatiri akan mengganggu ego pelakon dan juga pengarah  
  • ia tidak sepatutnya digunakan di dalam Action  
  • ditulis pada baris bawah nama watak 
  • contoh
JULIE
(calmly)
I hate you. I hate you. I hate you. 
  • ada juga dinyatakan semasa berdialog. Contoh..
ROBERT 
I now know more about 
their affair than I remember 
about my marriage. 
(seriously) 
Francesca, the last thing 
I want to do is put you 
in any kind of situation that 
would... even though we know 
it's just -- I mean, it's nothing 
like that, but if anybody 
saw us or... 
(can't finish)

FRANCESCA 
(disappointed) 
I understand. 
(touched) 
That's very kind of you.

 f) Transition
  • adalah command untuk mengakhiri scene/babak dan penunjuk aliran dari satu babak ke satu babak yang lain. 
  • kesesuaian penggunaan amat penting dalam membentuk perubahan character dan emosi. Meaning, CUT TO: tidak semestinya digunakan untuk setiap akhir babak 
  • terdapat pelbagai cara untuk "mengakhiri" yang melibatkan command yang berlainan. Ia bergantung kepada kreativiti penulis dan juga keperluan cerita/material. 
  • antara transition command lain termasuklah DISSOLVE TO:, MATCH CUT TO:, JUMP CUT TO:, WIPE TO: dan FADE TO:  
  • lokasi command terletak di hujung-kanan babak 
  • contoh 1
INT. DINING TABLE - EVENING

Malcolm stares down at the remains of a meal on the only place setting on the table.
CUT TO:
  • contoh 2
Vincent instantly moves the gun to his own head. ANOTHER

HORRIFIC BLAST SPIKES THE AIR. Vincent crumples onto thebathroom floor.

ANNA'S CHILLING SCREAMS FILL THEIR HOME.
DISSOLVE TO: 

 g) Shot
  • merupakan keperluan kepada screenplay untuk mendapatkan camera shot/angle
  • penulisan pengenai pengambilan imej (to my understanding).
  • dibuat dalam lingkungan beberapa saat sehingga ke beberapa minit.
  • biasanya dipilih oleh pengarah; tapi penulis boleh guna huruf besar untuk mencadangkan camera-shot tertentu. 
  • penerangan mengenai dengan command INSERT, ANGLE ON, CLOSE ON 
  • this part, relevant pada Screenplay Writer. Aku rasa, penulis skrip tak berapa guna sebab kebebasan untuk mewujudkan visual/gambar adalah tanggungjawab screenplay dan juga pengarah. Apa yang penulis skrip boleh tekankan adalah penggunaan HURUF BESAR dalam menerangkan ACTION, suasana ataupun gambaran.  
  • Contoh
INT. MEETING ROOM - NIGHT - JACK'S IMAGINATION

CLOSE ON JACK as he CLAMPS his arms around Marla.

 JACK
Marla, you liar, you big tourist. I
need this. Get out.
h) Page Number
  • menandakan mukasurat pada setiap muka pada atas-kanan (top-right) 
by skripsketch
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Penggunaan INT. dan EXT.

Penggunaa INT. dan EXT. dalam penulisan skrip adalah wajib dan biasa.

 INT. adalah singkat perkataan "interior" bermaksud dalam (inside). Bermakna scene/babak dibuat di bahagian/ruang dalam seperti dalam bilik, ruang tamu, dalam pejabat, dsb.

 EXT. adalah singkatan perkataan "exterior" bermaksud luar (outside). Bermakna scene/babak dibuat di luar seperti padang, tepi jalan, dalam hutan, atas bukit salji, dsb.

 Format: INT. + LOKASI + "-" + MASA
Lokasi: Kepala-Atas-Kiri (Heading-Top-Left)
Font: Tulisan besar keseluruhannya

 PENTING: Pemilihan LOKASI(samada INT. mahupun EXT.) yang sesuai adalah penting kerana ia melibat kos produksi seperti kelengkapan, pengangkutan, dsb.

 Untuk pemilihan MASA (timing), ada banyak pilihan seperti DAY, NIGHT, MORNING, AFTERNOON, EVENING, CONTINOUS, LATER, MOMENTS LATER & THE NEXT DAY

Contoh penggunaan INT. 
INT. BASEMENT - EVENING

A NAKED LIGHTBULB SPARKS TO LIFE. It dangles from the ceiling of a basement.

LIGHT, QUICK FOOTSTEPS AS ANNA CROWE moves down the stairs.

Anna is the rare combination of beauty and innocence. Shestands in the chilly basement in an elegant summer dressthat outlines her slender body. Her gentle eyes move acrossthe empty room and come to rest on a rack of wine bottlescovering one entire wall.

 Contoh penggunaan EXT. 
EXT. BENCH - AFTERNOON

The legend, "Two Years Later" appears.

A man flips open a worn file folder on his lap. Handwritten notes fill every line. At the top of the first page reads, "Vincent Gray, age 10, Referred January 19, 1989."
by skripsketch
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Format Skrip Mukasurat Hadapan (Title Page)

Kalau dah dinamakan skrip, mesti ada printed copy di tangan. Melainkan, draft version yang biasa passing-passing via email (andaian aku..). Bende pertama yang aku nampak, front page skrip tu sendiri. Sangat-sangat ringkas.

Dari pembacaan aku.. 

Mukasurat hadapan ada butiran atau perincian yang tertentu saja.
  • Jenis tulisan (font type) - kebiasaannya Courier 12. Gimmick ala-ala mesin taip la tue... 
  • Penggunaan kertas A4 biasa; bukannya kertas khas - no fancy paper!
  • Tiada grafik


Butiran atau maklumat yang ada pada muka surat hadapan (title page)
  • TAJUK SKRIP/cerita ditaip pada bahagian atas-tengah (top-centre) dengan tulisan tebal (bold font)
  • Dua baris di bawahnya, dan juga pada bahagian tengah, ditulis "Written by"
  • Dua baris di bawah seterusnya, dan juga pada bahagian tengah, ditulis NAMA (masukkan co-writer, jika ada)
  • Sekiranya skrip adalah adaptasi dari sumber lain, dua baris di bawah seterusnya, ditulis "Based on". Seterusnya, SUBJEK/MATERIAL ditulis pada dua baris berikutnya.
  • Pada bahagian bawah-kanan (lower-right), taip butiran penulis seperti alamat, no telefon dan email
  • Pada bahagian bawah-kiri pula (lower-left), taip "Copyright" atau "Registered" jika telah berbuat demikian.

Contoh Rangka mukasurat hadapan skrip (Title Page)
Format di atas adalah standard. Terdapat juga penulis yang menulis butiran penting sahaja.

 

 

Apa yang aku faham, keperluan format yang standard ini sangat penting dan digunakan di seluruh dunia. Tujuan, untuk memudahkan pihak lain faham; terutama pada Pengarah Filem, Pelakon dan juga Screenplay Writer.
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