Thursday, 29 December 2011

How To Write A Script For A Movie

In writing a script, it can be intimidating to craft a 90- to 120-page story, but the process can be
easily broken down into a series of steps, each designed to make sure that the script is properly


Title (1–5 words). Name the fi lm. This doesn’t have to be the fi lm’s fi nal title, but a strong working title can help maintain focus of what the story is about.


Theme (5–15 words). What is the “moral of the story?” Beneath
the story, plot, characters, and genre, what is the message you want
to convey to the audience after they fi nish watching the movie?
Make sure that every scene, every moment, and every character
supports this theme. If you ever encounter writer’s block, or don’t
know where a scene should go, refer to the theme and write a
scenario that supports it.


Logline (15–25 words). Describe the good guy, the bad guy, the
setting, and the confl ict. The logline is the basic premise of what
the movie is about. Think about what a movie reviewer would write
up in the newspaper when trying to describe the premise of the
fi lm in a clear, concise manner. After you describe the who, what,
why, when, and where, be sure to identify the confl ict, or there’s
no story. A line like “. . . and problems arise when . . .” strongly sets
up the confl ict in the story.

Treatment (2–3 pages). The treatment is a short-story form of the
movie that describes what happens from the beginning to the end
of the fi lm. It reads like a novel and serves as an easy way for the writer to
understand the characters and events as they appear in the movie. Treatments
are valuable writing tools that allow the writer to work out the story points in
a short form before moving on to write the longer script.

When you write the treatment, you can begin incorporating script-formatting
elements that will eventually make their way into the fi nished screenplay. For
example, each time a new character is introduced in your treatment, type the
name of the character in capital letters followed by the character’s age and a
brief description.


Outline (20–30 pages). Once the treatment is written, it’s time to
begin fl eshing out the details of each scene and every plot point.
Begin outlining by writing 80 to 100 scene numbers on a piece of
paper. Then break the treatment down into scenes, describing the
location where each scene takes place, the characters involved, and
what happens in the story. Add more details to the outline so that it becomes
easier to transcribe the outline into a script. Each scene in the outline will
become one scene in the script. The more detail that is written in the outline,
the easier it will be to write the script.

Start out by writing the main plot points of the A story. I usually like to write
this step by step in outline form, by writing simple sentences that loosely
describe what happens in the movie. Writing in simple plot points makes it
easy to rework, expand, and remove story points later. As you develop the A
story, outline the basic plot points from the beginning of the story to the end.
This process can be as simple as taking a sheet of paper, numbering each line,
and writing each plot point.


Script (90–120 pages). Once the outline is fi nished and every plot point is
described, begin fl eshing out each plot point into a scene, adding dialog and
detailed descriptions. Remember that one page of a properly formatted script
roughly equates to one minute of screen time.

Complete the fi rst draft of the script, regardless of how good or bad it is. Once
you have a complete draft of the script in front of you, you can begin the revision
process. Shorten, edit, alter, tighten, and scrutinize every line of every page
until you are satisfi ed with the script, then register the script with the Writers
Guild of America, apply for a copyright from the U.S. Copyright Offi ce, and
begin either the submission or the production process.

tag:  writing a script,how to write a script for a movie,write movie script

The Story Formatting

Stories can be told in many different formats, each designed for a different purpose. Be mindful of your budget, the availability of resources, and time
when you choose the format for your story.

The main formats include:

■ Animation. Produced either by hand or using computer technologies, 2D
or 3D movies still rely on traditional story structures, although the means of production lie strictly with the animator and rarely include live-action
elements. Animated fi lms are very time consuming and technically elaborate.

■ Commercials. Designed to advertise a product or service, television
commercials incorporate a wide range of styles, techniques, animation,
narrative, and hard-sell techniques into 10-, 15-, 30-, or 60-second time
lengths. Commercials are a great way for fi lmmakers to showcase their
style and story-telling and production capabilities and are among the most
lucrative, well-paying forms of production.

■ Documentaries. Documentaries are intended to study a subject, occurrence,
theme, or belief in an attempt to either explore the subject or arrive
at a conclusion about the subject. Documentaries can either take on an
investigative approach, in which the fi lmmaker tries to answer a question or research
a subject, or follow a subject and allow the story to unfold during the production.
Documentaries can, in some instances, be inexpensive but time-consuming to produce.

■ Feature fi lms. The 90-minute narrative is the mainstay of Hollywood entertainment,
and its production is the dream of millions of aspiring fi lmmakers. The riskiest style
of production, feature fi lms are expensive and time consuming and rarely recoup the
monies invested.

■ Industrial/corporate. These productions are typically marketing or how-to pieces for
businesses. Although not very entertaining to watch or make, industrials
are an outstanding way to make money in the production industry.

■ Music videos. These highly stylized four-minute promotional videos for
music artists are a great way for a fi lmmaker to explore unbridled creativity
using any medium, any style of narrative or performance, and artistic
editing. Music videos are terrifi c short-format pieces that easily demonstrate
a fi lmmaker’s abilities.

■ Short fi lms. Short fi lms are movies that are shorter than 80 minutes.
Ideally under 20 minutes, shorts are a terrifi c way of learning the process
of making a movie, showcasing the talents of the fi lmmakers, and
generating interest from investors in future projects. Despite the educational
and career benefi ts, there is virtually no market for short fi lms,
making it nearly impossible to see a return on the investment. Although
there are a few distributors who may release a compilation DVD of short
fi lms, fi lmmakers rarely see their money back or see distribution of a short
fi lm by itself.

Tag;Story Formatting,story outline format,feature story format,short story format,user story format

The Definition Of Genre

A genre is a category or type of story. Genres typically have their own style and
story structure, and although there are several primary categories, movies can
be a mixture of two or three different genres.

Some common genres include:

■ Action ■ Comedy
■ Crime ■ Drama
■ Family ■ Fantasy
■ Horror ■ Musical
■ Romance ■ Romantic Comedy
■ Science Fiction ■ Thriller
■ War ■ Western

When choosing the genre for an independent fi lm, be aware of the costs and
diffi culties of shooting certain genres like science fi ction or westerns, for which
the cost of sets, costumes, and props may be prohibitive.

Take special notice of the resources available to you in your community and
through your contacts. When I wrote Time and Again, I knew that my hometown
Chardon, Ohio, could easily pass as a town from the 1950s without much set
dressing. I also knew that throughout the region, I could approach antique car
owners and costume shops and scavenge the dozens of antique shops to recreate
the time period easily and inexpensively. Doing this research in advance gave me
a really good idea as to what resources were available as I developed my story.

Tag; definition genre,genre definition,define genre,definition of genre

7 Easy Steps to Shooting Great Videos

Many people are so intimidated by their video camera that they rarely use it! With just a few steps, you too can be a great shooter of your family films.

1. Know Your Camera

While you don't need to know every last feature of your camera, you should know the basics of how to use it. Some cameras now offer an "Easy Button" where everything is automatic. This can be wonderful for many filming situations. For times when you don't want your camera's focus to constantly change during an interview, for example, do a few test runs before using the manual focus button.

2. Know Why You're Filming

Before you turn your camera on, think about what you're about to film. What is it that you want people to take away from your shots? What do you want them to remember? Is it the actions in the shot? Or what someone is thinking or feeling at the time? If it's a long action shot (say a school play), consider investing in a tripod for a steady long shot (and a thankful right arm!) If it's a personal interview, consider investing in a better microphone.

3. Establish Yourself

Once you've figured out your main objective of the shoot, you want to take a hint from the pro's and make sure you get an establishing shot, ideally at the start of filming. An establishing shot simply establishes where the filming is taking place or identifies without words what you are filming. This could mean a wide shot including as much or all of the action in the shot as possible. For the school play example, it could be a shot of the entire stage. Or perhaps a quick shot of the front of the school or a sign naming the play. Once you've established for your audience "where" you are, you can then vary your shots with closer-in shots (called medium and close-up shots.)

4. Let The Action Tell The Story

Too often, people think they have to do more with their camera to make their home movies interesting. This often means that pesky zoom button is in constant use! Not only does this lower your production value, it leaves your audience feeling a bit seasick. Instead, try to use your zoom button only to change shots (from say establishing to close-up) and then let what's happening in the shot play out. Your audience will definitely thank you!

5. It's All About the Lighting

Have you ever noticed how your home movies shot outdoors look beautiful and the ones inside look noisy or grainy? This is because natural light (sunlight) is much stronger than tungsten (indoor light) and most consumer video cameras require a great deal of light to make a beautiful picture. Therefore, when indoors, these cameras will do something called auto gain which creates additional "artificial" light but also adds grain to your picture. So remember--when shooting indoors, use as much available light as possible, and make sure that available sunlight is in the right place--to the front or side of your subject to light up their face--not behind them where they will be in silhouette.

6. Sound Is A Beautiful Thing

Hearing someone's voice is equally as important, and sometimes more so, than seeing their face. So know your camera and its microphone capabilities. If you are sitting in the back row of the school play and are just using an internal microphone on your camera, don't expect to hear your daughter's lines clearly. Do some tests ahead of time to evaluate if your filming situation requires a different or additional kind of microphone.

7. Be Prepared

The most important thing you can do is make sure you have lots of blank tape (or drive space) and several charged batteries! Without them, all of the above is meaningless. So take the time to be prepared for your shoot.
DMB Pictures is a boutique video production company specializing in producing broadcast-quality personal stories for families, non-profits and small businesses. The company opened its doors in January 2006 led by Debbie Mintz Brodsky, a three-time Emmy Award-winning television producer with more than 20 years of experience.
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Tuesday, 27 December 2011

Advantages of Shooting in the Studio

Control is the principal advantage of shooting a film in the studio. What can be
accomplished in the production design is limited only by the budget and skills of the

art department. A fair-sized studio allows the filmmaker to work continuously. There
are no company moves to make as there are in working on location. It is always day
or night in the studio. Power is readily available, as is space for the art department
to set up shop. Over the decades, studio construction and decorating techniques have
made great strides. Many studio sets in contemporary films look as authentic as location
work. In the 1970s, filmmakers left the studio for the real world on location.
They are still doing just that in the new millennium but with the art and craft of studio
production design they can now have it all inside and on the sound stage.

Safety Procedures

• All exits and lanes must always be kept clear to avoid accidents, maintain easy
mobility, and as an escape route in the event of fire
• Walkover boards should be put over all cables so the cast and crew won’t trip over
• Secure and brace all flats and scenery
• Keep all structures and materials away from the lighting instruments to avoid a
• Spray all sets and materials with flame retardant
• Build security handrails onto all offstage platforms and steps
• Check all materials carefully and avoid those considered to be hazardous

Saturday, 24 December 2011

Texture Definition In Art

Texture is critical in creating authenticity; evoking age, wear, use, and
passage of time; and reflecting the results of environmental conditions on a surface.
The Europeans call it patina. The surface of an object must reflect that it has been
lived-in or has existed in time. Dust is a common aging agent, easily accessible to
the filmmaker.

On the West coast, dust has an earthen, clay color due to the geological properties
of the landscape and the quality of reflected light in the region. The nature of
East coast dust is often black and sooty. The properties of the soil, car, industrial pollution,
and chimney soot in a crowded, architecturally cramped metropolis contribute
to the color and texture of the dirt and dust.

The purpose of texture in building materials, fabrics, and furnishings is to provide
contrast and complement and to add realism and a tactile sense to the design. The
materials chosen for the production design serve many purposes. The textures of
building materials communicate the properties of the structure: wood, metal, glass,
brick, and tile. If the texture is believable, whether real or created by the art department,
it will contribute to veracity of the story.

One of the missions of the production designer is to create the appearance of real
materials through art direction. A set built of wood can be transformed by covering
the surface with other materials to create the illusion that it is made of stone, any
variety of high quality wood, or sheet rock.

Materials and texture are storytelling devices. They inform the audience about the
economic status, time and place, and social and political conditions of the story’s
environment. Materials can become metaphors. In Terminator 2: Judgement Day
(1991) the Terminator and T1000 are made of metal. The production design by
Joseph Nemec III is filled with metal surfaces of all varieties, even molten metal. All
the metal structures in the film are related to the power of the cyborgs.

Part of the art of production design is using materials that are available, easy to
work with, and sensible for a film production. All the metal materials in the design
of Terminator 2: Judgement Day are not exactly what they look like. Surfaces are
treated, painted, and textured. To use real metal in every case would be difficult to
manage in building and working on a film set during construction and production.
The following examples demonstrate how the texture of set construction materials
can convey a specific look, mood, and atmosphere to a scene by aging new material
so that they appear to be old and worn.

Tag: texture definition in art

Black-and-White Filmmaking

Designing black-and-white productions is an art and craft in itself. During the
classical Hollywood studio era, production designers and art departments were well
trained in working in the black-and-white medium. The principal difference in
designing in black-and-white as opposed to color is that the designer’s palette does
not consist of the color spectrum. The black and white designer is working within
the gray scale and must understand how each color translates to a value from black
to white.

If your film is being photographed in black-and-white, watching other films in the
medium will motivate and inspire, but it will not help you to learn how colors are
interpreted in the gray scale. Practicing and experimenting with black-and-white still
photography will give you an understanding and feeling for how black-and-white film
records a color scene. Since a bright green and a bright blue of the same hue may read
as the same tone on the gray scale, colors in a black-and-white film are not chosen for
their color value but for their tonality on the gray scale. To the untrained eye, the colors
of a well-designed set prepared for black-and-white photography will look unbalanced
and may appear to be garish and to clash in relationship to each other. The production
designer works to achieve balance, contrast, and a sense of space and dimension,
using the range of the gray scale. The architectural silhouette is the same, but
the detail and modeling must be projected through gray scale values.

After each value is tested, the set is built, then carefully checked and tested with
the black-and-white film stock to be used. Camera tests are made to discover the
tonal range. During shooting, a black-and-white video assist system will help the
designer to see how the set will look in black-and-white. The art department must be
prepared to make corrections and changes to enhance, augment, or correct the design
so it can best serve the characters and story.

Sunday, 18 December 2011

Advanced Camera Rigging and Supports

When people talk about camera supports, the first thing that comes to mind is the tripod.
Tripods are very important and a good tripod for recording moving images is a little more
complicated than tripods that are designed for still photography. Top-of-the-line video tripods
have a fluid head and are often designed with the size and weight of the camera in mind. But
tripods are just the beginning, there are many other types of camera supports that can help
you get the shot you want.

1. Base plate is a metal piece that attaches to the bottom of your camera using a screw
through the tripod mount. A base plate gives you a quick way of attaching your camera
to various camera accessories. Baseplates usually feature a quick release mechanism so
that you can take your camera on and off the tripod or other device without having to
unthread the screw (refer to Figure 10.2).

2  Rods are used to support large lenses and lens accessories such as follow focus mechanisms.
They are especially useful when putting a big lens on a small camera.

3. Follow focus mechanisms are a set of gears that let you pull focus smoothly while shooting.
They are much larger than the focus rings found on the lens itself and make it easier
for a second person to do the focus pulling (Figure 10.10).

4. Matte boxes are used to hold filters on the lens. They can speed up the process of adding
or removing filters because the filters are dropped in rather than screwed on. They also
provide bigger adjustable sunshades, also known as eyebrows that can help you avoid lens
flares (see Figure 10.8).

5. DSLR camera riggings, such as the Zacuto Striker (Figure 10.11) and the Red Rock
Micro Cinema Field Bundle (Figure 10.1), serve to make DSLR cameras function more
like video cameras. The Cam Caddie (Figure 10.12) features a different design that is very
useful when holding the camera low and when moving. Other DSLR riggings are designed
to help hold various accessories while the camera is mounted on a tripod (Figure 10.3).

Film Shooting Checklist

Do a camera test: depth of field, focal length, lens filters, white balance, and camera movement
are all cinematic tools that you have at your disposal when composing a shot. Good composition
involves balancing these choices along with the placement of your subject and background
within your scene.

Here, then, is a simple list that you should get in the habit of following when setting up your

1. Consider depth of field. Think about how deep or shallow you want the depth of field
in your image. If you want a very shallow depth of field, then you’re probably going to
need to use a longer focal length, so you might need to move your camera away from your
subject to get the framing you established in step 1. Remember also to manually control
your camera’s aperture, as described earlier.

2. Pay attention to the effect of your focal length. Whether or not you’re trying to control
the depth of field in your scene, you should take a minute to consider how your choice
of focal length is affecting the sense of depth in your image. Are you trying to create a
large sense of space? If you are, then you probably want a shorter focal length to reduce
depth compression. However, if you go too short, you might distort your actors’ faces.
There’s no right or wrong to focal length choice, but it is important to pay attention to
how focal length is affecting your image.

3. Double-check exposure and shutter speed. Most of the time, your camera will be
calculating at least one of these parameters, often both. If you’re manually adjusting aperture
to control depth of field, then make sure the camera hasn’t switched to a shutter speed
that’s too high. Or perhaps you want to make your images darker, or to expose them in
a particular way. Or perhaps you’re worried about your actor’s movements interfering
with your camera’s automatic exposure mechanism. If so, you’ll want to manually pick an
exposure that works well for the scene and set the camera to that aperture.
4. White balance. Assuming your set is already lit—and assuming you’ve decided to shoot
using manual white balance—it’s now time to white balance. Have someone hold something
white in an appropriate spot and take your white balance. You might not have to
do this every time, but remember that if your camera has shut off or been placed in standby
mode, or if your lighting setup has changed, you need to take a new white balance.

If you follow the preceding steps when setting up your camera, you’ll stand a better chance
of using all of the creative tools at your disposal.

Like any other tool, when you’re very familiar with how to use your camera, your hands will
simply do what they need to do without you having to think about it. With all of the other
things you’ll have to think about when on set, worrying about a particular camera setting is
a luxury you won’t be able to afford. As such, a thorough working knowledge of your camera
is essential.

Audio Editing Hardware

Sound editing applications are powerful tools, but even though you can get away with performing
all of your audio edits using software alone, you might want special hardware to augment
the process.

1, Mixing Boards. If you’re more comfortable with sliders and knobs than with a mouse,
then you might want a mixing board for mixing and balancing your tracks. Although you
might have used a simple mic mixer or four-track mixing board during your shoot, you’ll
probably want a beefier mixing board for your postproduction editing. FireWire-based
mixing boards are the easiest to hook up because they don’t require additional hardware.

2, Microphones. Obviously, if you end up needing to re-record dialogue, or to record sound
effects on location, you’ll need microphones. For voice-overs and other dialogue recording,
your best option will be a good handheld mic. Whether you choose to record directly
into your computer or record into a tape deck, be sure you have the necessary cables
and connectors to hook up your mic.

3,Speakers. It almost goes without saying that all sound editing workstations need a good
pair of speakers. See the section on audio hardware in Chapter 11 for more on speakers
and other audio-related hardware.

4, Audio PCI Cards. Many dedicated sound editing apps can be paired with special PCI
cards designed to process audio in your computer. In addition, they add connectivity
to other audio hardware devices. Check your software manufacturer for details

Monday, 12 December 2011

What Is Transcoding

The process of converting a piece of media from one codec to another is called transcoding. Most video container file formats can support a wide range of different codecs. So, for example, you can have a .MOV file that uses the H.264 codec, and you can also have a .MOV file that uses the Avid DNxHD codec. If you shoot footage with a camera using H.264, drag it to your desktop, and then convert it to DNxHD to work with Avid Media Composer,
you are transcoding your original media . The file itself will still be a .MOV file, but you will have fundamentally changed your media.

Transcoding can be a hardware-based or a software-based process and whenever you move
digital video around, you run the chance of transcoding your media. Transcoding isn’t necessarily
bad; in fact, it’s often necessary and beneficial, but you should make sure you are not
unintentionally transcoding your media to a lower quality codec.

So how and when does transcoding happen? The first way has to do with how you move media
from your camera to your computer. If you are dragging and dropping files from a disc or
hard drive to your computer’s hard drive, you are not transcoding. But if you are using a cable
running from your camera or videotape deck to a video input on your computer or video card,
then you need to be careful. If you shoot HD, then you need to make sure that the chain of
connectors and cables between your camera and your computer is all digital. If your camera
has an analog video-out connector, such as S-video, then simply by sending your video out
through this connector you are transcoding it into an analog signal. Then when it gets to your
video card or connector on the computer, it is being transcoded back into a digital signal. It’s
true that you may not see a huge difference in the resulting image, but it’s better to avoid
transcoding your media more often than is necessary for your workflow.

The Difference Betwwen Stereo And Mono Sound System,Stereo vs Mono

Stereo Sound

Stereo sound consists of two channels of audio mixed together in a special way: one channel
is balanced somewhat to the left, and the other is balanced somewhat to the right. When
played back, a “stereo” field is created that creates a more three-dimensional perception of
where the sounds are coming from.

The only type of production sound that is typically recorded in stereo is music. Stereo sound
is usually reserved for the final mix of a soundtrack for a film or TV show. The built-in microphones
on most camcorders are stereo, but these mics are usually not suitable for serious
production work. You can, of course, buy or rent stereo mics to attach to your camera, and
these will record separate left and right channels directly to tape; however, this is not necessary
if you are primarily recording dialogue

Mono Sound

Mono sound consists of one track (or channel) of audio. Almost all of the sound that you record
during your production is mono. If you record a line from a microphone into a digital audio
recorder, you are probably recording mono sound because most microphones are not stereo
microphones—that is, they don’t record separate left and right channels that create a full stereo
field. Even if you record onto both channels of the digital audio recorder with a mono microphone,
you’re still recording mono: you’re simply recording the same mono signal on the
recorder’s two channels.

If you patch a lavalier mic into channel one and let the camera’s built-in mic record to channel
two, you are still recording in mono. Granted, you are creating two different mono recordings
of the same thing, but the two different channels will sound very different due to the quality
of the microphones and their positioning. In no way do they add up to a stereo recording.

There’s nothing wrong with recording mono production sound; in fact, it’s usually considered
ideal. You’ll record many different tracks of mono sound and later you (or a sound editor) will
mix them together in different ways to get a stereo mix and a surround sound mix.

tags: difference stereo mono,stereo vs mono

Video I Frame

Thw video i frame The video track consists of a series of still images, or frames, that,
when played in sequence, appear to be moving. Frames of video are similar to
frames of film, except that you can’t see them by holding them up to the light.
Instead, you need a computer to decode the electronic information that constitutes
each frame and display it on a monitor.

Each second of video contains a specific number of still images in order to give the illusion
of motion. The number of still images, or frames, per second is called the frame rate. When
motion picture film was invented, it originally ran at a frame rate of 18 frames per second
(fps). With the advent of sound, the frame rate had to be increased to 24fps to get audio that
was in sync with the picture.

There are many different frame rates associated with HD. The reason is that when HD was
developed, it needed to be compatible with a variety of existing media: film, American analog
broadcast video, and European analog broadcast video. Each of these three potential sources
for HD defines a subset of HD frame rates:

n 24p and 23.976p. Frame rates based on film.
n 29.97p, 30p, 59.94i, 60i, 59.94p, and 60p. Frame rates based on American television.
n 25p and 50i. Frame rates based on European television.
As you’re trying to decide which frame rate to use when you shoot, you can narrow down
your options by using this list. For example, if you are doing a project in the United States,
there is no reason to shoot 25p or 50i.

Tag: video i frame, frame the video, frame i video, video i frame

Components of Digital Video

Today i am talk about the components of digital video.all digital video is a collection of electronic signals recorded by a camera onto a piece of media: videotape, optical disk, hard drive, or flash memory. No matter how the signals are stored, all digital video consists of tracks, frames,  scan lines, pixels, and audio samples.

The Tracks:-
During a shoot, your video camera captures video and audio information, converts it into
electronic data, and stores it onto its recording medium. All of this data is laid down in separate
tracks (sometimes called channels or streams), typically one video track and two audio tracks.
(Some cameras and audio recorders can record four or more tracks of audio.) In addition,
most digital cameras record some form of data track that includes information such as the
time of day, timecode, camera settings, and so on.

Scan Lines
Each individual frame of video is composed of a series of horizontal lines that are scanned
across the screen starting at the top. With some types of video, these scan lines start at the top
and work their way down to the bottom, filling the screen entirely, a process called progressive
scanning .With other types of video, the scan lines start at the top but only draw the even-numbered lines until they get to the bottom; a process called interlaced scanning . Each pass across the monitor is called a field, and each frame of interlaced video consists of two fields. The order in which the fields are drawn can change, depending on how the video is recorded. If you are wondering which one is better, there’s no clear answer, but progressive scanning is definitely simpler and more intuitive, so given the choice, most filmmakers these days opt for progressive scanning. However, if your project is destined for broadcast television, the network may require that you use a form of HD with interlaced scanning.

Friday, 9 December 2011

Writing for Corporate Projects

For the most part, when you write for any type of “industrial” project—be it a training video,
marketing piece, or presentation video—you face the same issues and concerns as when you
write a fictional short or feature. You still have a story to tell, that story needs to have a structure,
and you must tell that story visually. So, just as you need to apply a goal and a structure
to a fictional script, corporate and industrial scripts also need to have the same type of
beginning/middle/end narrative drive to them. Corporate and industrial scripts are usually
heavily based on interviews, or on voice-over narration with additional video footage or
graphics to illustrate concepts. Even though these types of video do not always have
“dramatic” real-world scenes in them, they still benefit from a sturdy three-act structure.

Before you commit any words to paper, try to get a clear idea of the “problem” that will be
solved. Introducing and explaining the problem will constitute your first act. Next, you’ll
want to explain why this problem is difficult or worthwhile to solve. This will serve as your
second act, the complication. Then you present the solution to the problem.

In a fictional project, the second act is usually the longest. In a corporate production, however,
the third act is usually the longest, because you’ll want to spend a long time dealing with
the details of the solution you’re proposing.

Corporate productions have a big wrinkle, though. Before you begin writing, you need to give
thought to who you believe the audience is for your particular production. A production
aimed at a management team will probably have a very different message from one aimed at
a board of directors. If your audience already has a deep understanding of the problem you’re
going to present, then you’ll want to make a shorter first act, and devote the time to beefing
up the areas that they’ll be less familiar with. You don’t want to bore your audience with information
they already have, so an understanding of who your intended audience is, what they
already know, and what they need to know, is essential.