脚本フォーマットの基本：脚本を構成する7つの要素
初心者向けに脚本フォーマットを解説します。1ページ1分のルールと、すべての脚本を構成する7つの要素。そして今日からやめるべき書式のミスを4つ紹介します。
このレッスンで学ぶこと
- 脚本が小説でもショットリストでもなく、設計図である理由
- 1ページ1分のルールと、どの脚本も Courier 12ポイントを使う理由
- 7つの要素：柱（シーン見出し）、ト書き、役名、セリフ、ト書き括弧（パレンセティカル）、トランジション、ショット
- The Night Ferry の1ページ目を使って、各要素が実際のページのどこに置かれるかを確認
- 整った脚本が ScreenWeaver パイプラインの後工程をどう支えるか
- 初心者がやりがちな書式のミス4つと、その避け方
脚本フォーマットは、あらゆる脚本が従う共通の標準です。このレッスンではゼロから説明します。脚本とは設計図であり、チームに、そして今では AI パイプラインに、何が見えて何が聞こえるのかを順番に伝えるものです。最初のルールがいちばん役に立ちます。1ページはおよそ上映時間1分にあたります。だからこそ、どの脚本も Courier 12ポイントと同じ余白を使うのです。
まず脚本を構成する7つの要素を学び、それを The Night Ferry の1ページ目で確認します。柱（シーン見出し）は大文字で左寄せ、ト書きは現在形、役名は中央寄り、セリフはそれより狭い幅の列に入ります。ScreenWeaver では余白を設定する必要はありません。要素を選べば、ページが自動でレイアウトしてくれます。最後に、初心者によくある書式のミス4つと、ページ数についての注意点を説明します。
全文の文字起こし
英語ナレーションの文字起こしです。
0:04A screenplay is not a novel, and it's not a list of shots. It's a blueprint, a document that tells a whole team, or today a whole AI pipeline, what we see and what we hear, in the order we see and hear it. And like any blueprint, it follows a standard.
0:21The first rule of that standard is the most useful one. One page is about one minute of screen time. That's why every screenplay uses the same font, courier 12 point, and the same margins. A 90 -page script is roughly a 90 -minute film. Our three pages of The Night Ferry will run about three minutes.
0:41A screenplay page is made of only seven kinds of lines. The scene heading tells us where and when. The action line tells us what we see and hear. The character cue names who speaks. The dialogue is what they say. The parenthetical is a short note on how a line is said. The transition, like cut to or fade out, marks the passage between scenes, and the shot element calls out a specific angle when it truly matters.
1:09Let's look at page one of The Night Ferry. Exterior, the jetty, night. That's a scene heading, in capitals, flush left. Below it? Rain on black water. A single lamp swings above an old ferry. Action. Full width, in the present tense. Then Maya, in capitals, indented toward the middle. A character cue. And under it? Wait, please, I need to cross tonight. Dialogue, in a narrower column.
1:38Each element has its own position on the page, and that position is not decoration. It lets a reader scan a page in seconds. Headings on the left, names in the middle, dialogue in a column. Producers, actors, directors, all read scripts this way.
1:54Here's the good news. In Screenweaver, you never handle any of that. You choose the element in the toolbar, or with the keyboard, and the page puts the text where it belongs. You focus on the story, the format takes care of itself.
2:08There's one more reason the format matters in Screenweaver. The rest of the pipeline reads it. Every name before a line of dialogue becomes a character. Every place in a scene heading becomes a location. Later, every scene becomes a set of shots in the storyboard. A clean script is not just easier to read, it builds your whole production.
2:31Before we move on, the four most common beginner mistakes. One, camera directions everywhere, like we pan to, or close up on. Leave the camera to the storyboard. Write what we see. Two, numbering scenes by hand. Don't. Numbering comes later in production. Three, writing we see before every image. Just write the image. Rain on black water, not we see rain on black water. And four, novel style description, with thoughts, memories, and backstory. If it can't be filmed, it doesn't go on the page.
3:09And a nuance about the one -page, one -minute rule. A page of fast dialogue plays quicker than a minute. A page of dense action, slower. Over a whole script, it evens out, which is why producers still use it to estimate the length of a film from its page count.
3:26In the resources, you'll find a one -page format cheat sheet, with the seven elements and an example of each. Keep it next to you for the next lectures. Next, we zoom in on the first element of every scene, the scene heading.