Module 5

The Script --

The Key Element

In Productions

With the basic overview of the production process out of the way, we can look at the key element in the process: the script. 

There are semi-scripted shows and fully scripted shows. 

In the first category are interviews, discussions, ad-lib programs, and many demonstration and variety shows. These scripts resemble a basic outline, with only the segments and basic times listed. 

Although scripts for a semi-scripted show may be comparatively easy to write (since there's little to write!), this type of show puts pressure on the director and talent to figure things out as they go and to try to bring things together "on the fly."

Much in contrast, scripts for fully scripted shows list the complete audio and video for every minute. In a fully scripted show, the overall content, balance, pace, and timing can be figured out before the production starts in order to minimize unpleasant surprises. (Notice we didn't say eliminate).

The Concrete-to-Abstract Continuum

Documentary and hard news pieces should be reasonably concrete. That is, they should present information clearly, minimizing the possibility for misunderstanding.

In fact, the better you are at clearly explaining things, the more successful you'll be. 

A concrete news script is quite different in approach and structure from the script for a feature story, soft news piece, music video, or dramatic production. In the latter cases, it's often desirable not to be too concrete -- in order to allow room for personal interpretation. 

Let's look at two examples. 

An instructional video on the operation of a software program should be as explicit as possible. Given the nature of computers and computer programs, you should present information in a clear, systematic fashion.  

Although you'll want to present the material in a creative, interesting, and possibly even humorous way, the challenge is in having all audience members acquire the same clear idea of a specific sequence of operational procedures. If most of the audience can successfully operate the program afterward, you're successful; if they can't, you're not. 

In contrast to this concrete type of production are feature pieces on Jazzercise or new fashions.

Given the fact that the audience has undoubtedly seen scores of television segments on fashion, the first challenge is to approach the segment in a fresh, creative, attention-getting way.

Compared to this challenge, presenting the piece is easy. 

Unlike software programs or stereo components, fashions are not sold based on  technical specifications. Because they appeal largely to the ego and emotions, we're less interested in communicating facts than in generating excitement, i.e., creating a positive emotional response.

Likewise, a soft news piece on exercise should not emphasize facts as much as action. Its approach should be more abstract. Instead of facts, its purpose is to communicate something of the feelings surrounding exercise and those that go along with having a slim, trim, fit body.

  Hold Their Interest

Once you establish the intent and focus of the production and you know the characteristics of the audience, you can select and arrange the program elements. 

In scripting content, a logical and linear sequence is the most natural approach, especially when information must be presented in a precise, step-by-step fashion. Remember the instructional computer piece we cited.

Often, however, it's not desirable to use a structured, linear presentation. In fact, the latter can get a bit predictable and boring. 

In dramatic productions, the techniques of using flashbacks (momentarily cutting back to earlier events) or presenting parallel stories (two or more stories running at the same time) can add variety and stimulate interest. 

Whatever you do, be certain to present the materials in a way that will hold the attention and interest of your audience. You can do this by:
 

• engaging the audience's emotions
   
• presenting your ideas in fresh, succinct, clear, and creative ways
   
• making your viewers care about the subject matter
   
• using aural and visual variety

Remember, if you lose your audience, you've compromised the purpose of your effort.

Spicing Up Interviews

For better or worse, interviews serve as the mainstay of many, if not most, nondramatic productions. Because of this and the difficulty involved in making interviews interesting, they require special attention. (Later, we'll talk about interviewing techniques.)

Even though "talking heads" can get pretty boring, the credibility of an authority or the authenticity of the person directly involved in the story is generally better than a narrator presenting the same information.

However, except for rather intense and emotional subject matter, keep in mind that once we see what someone looks like during an interview, we will probably want to enhance interest and pace in our piece during the editing phase by cutting in B-roll (related supplementary) footage.

B-roll footage consists of shots of people, objects, or places referred to in the basic interview footage -- the A-roll.

At the same time, don't let the B-roll footage distract from what's being said.  

Whenever you plan an interview, plan for supplemental, B-roll footage. Sometimes you won't know what this will be until after the interview, so you need to keep your production options open. 

In postproduction, you'll need to specify exact points in the interview (the A-roll) where the B-roll footage will go. Simply trying to describe points in scenes for edits can be difficult open the door to errors, not to mention require a lot of words.  The only way to specify precise audio and video edit points is to use time-code numbers.

Time code, sometimes called SMPTE/EBU time code after the organizations  that adopted it, refers to the eight-digit numbers that identify the exact hours, minutes, seconds, and frames in a video.

These numbers specify points on video recordings within at least 1/30th of a second -- a level of accuracy important for a tightly edited show.

Note the time-code numbers in the picture on the left. In this case, we read them as 0 hours, 1 minute, 16 seconds, and 12 frames. We'll go into time codes more in the audio and video editing sections.

Assembling the Segments

Documentary writers who prefer a systematic approach (and have the luxury of time) start by typing -- or having typed -- a transcript of the interviews on a computer, complete with time-code references. This is especially valuable if they need to break up numerous lengthy interviews and rearrange them in a topical sequence. 

Once on computer disk, you can do word or phrase searches quickly to locate key words or topics in the interview segments.

Most word processing programs allow two or more windows on the screen.

Using this approach you can search and review the interview transcript in one window while writing the script in the other. Thus, you can easily condense, rearrange, and assemble the segments directly on the computer screen to provide the most logical and interesting flow. 

If time-code numbers are included with the video segments, you should make a note of the time codes on the script as you go along, in case you later need alter anything.

In some instances you may be able to "run" video and audio sequences on the computer and see the results as you proceed.

Whenever it's necessary to explain or amplify points or to establish bridges between interview segments, write narration. An announcer will generally read this over B-roll footage.

In writing the script, be alert at every moment to using the most effective means of getting your ideas across.

Ask yourself which technique(s) will best illustrate your point: narration, a short clip from an interview, an electronically animated sequence, a graph, or a still photo?  

Some sophisticated editing programs have speech recognition capabilities, which means they can can search for spoken words or phrases in video footage.

As you pull the elements together, think of yourself as watching the show; try to visualize exactly what's going on at each moment. Great composers can hear each instrument in their heads as they write music. In the same way, effective scriptwriters visualize scenes as they write their scripts. 

In establishing the pace of the production, eliminate long, slow periods and even long fast-moving periods. Either will tire an audience.  

Except for a short, fast-paced montage (rapid succession of images), keep shots segments to at least two seconds in length. Conversely, only a scene with plenty of action or intensity will be able to hold an audience for more than a minute.

Remember, engage your audience quickly and leave them with a positive impression at the end. In between, keep interest from drifting by varying pace, emotional content, and presentation style. 

Not an easy assignment.