시나리오 씬 헤딩(슬러그라인) 쓰는 법
시나리오의 씬 헤딩, 즉 슬러그라인 쓰는 법: 실내 또는 실외, 장소, 시간대를 이 순서로. 그리고 새 씬을 시작할 때와 플래시백, 몽타주를 다루는 법까지.
이 강의에서 배울 내용
- 씬 헤딩의 세 부분: 실내 또는 실외, 장소, 시간대
- 입력하는 동안 ScreenWeaver가 접두어, 장소, 시간대를 제안하는 방식
- 헤딩의 새 장소가 사이드바의 로케이션이 되는 방식
- 새 씬 헤딩이 필요할 때와 LATER를 쓸 때
- 장소 하나는 항상 정확히 이름 하나를 유지해야 하는 이유
- 플래시백, 전화 통화, 몽타주를 다루는 법
시나리오의 모든 씬은 씬 헤딩, 때로는 슬러그라인이라고 부르는 것으로 시작합니다. 이 강의는 두 가지 질문, 즉 여기가 어디고 지금이 언제인지에 한 번에 답하는 씬 헤딩 쓰는 법을 보여 줍니다. 실내 또는 실외, 장소, 시간대라는 세 부분을 배우고, ScreenWeaver의 자동 완성이 접두어, 기존 장소, 그리고 night, dawn, later, continuous, moments later 같은 시간대를 제안하는 방식을 배웁니다.
새 씬이 시작되는 때, 선착장이 절대 부두나 잔교로 바뀌면 안 되는 이유, 헤딩을 구체적으로 유지하는 법도 배웁니다. The Night Ferry의 씬 헤딩 다섯 개를 읽으면 밤에서 새벽으로 흐르는 시간이 영화 전체를 어떻게 끌고 가는지 보입니다. 강의는 특수한 경우로 마무리됩니다: 플래시백, 두 장소 사이의 전화 통화, 몽타주.
전체 스크립트
영어 내레이션의 스크립트입니다.
0:04Every scene starts with a scene heading, sometimes called a slugline. It answers two parts before anything else happens. Where are we? And when?
0:14A scene heading has three parts. First, interior or exterior. Are we inside or outside? Then the place. Then the time of day. Exterior, the jetty, night. Interior, the ferry cabin, night. Simple. In capitals and always in that order.
0:36Let's type the first one. In the toolbar, choose scene. As soon as you type the first letter, ScreenWeaver suggests the standard prefixes. Interior, exterior, interior slash exterior and I slash E for scenes that move between the two. Use the arrow keys to pick one and press enter.
0:57Now the place. The jetty. Because it's a new place, the suggestion list offers to create it. Confirm and the jetty is added to your places in the sidebar. From now on, every time you start a heading with interior or exterior, your existing places are suggested. So you never misspell them.
1:16Then type a space, a dash and a space. And the list offers the times of day. Day, night, dawn, dusk, morning, afternoon, evening, but also later, continuous, moments later and same time. Pick night.
1:35When do you need a new scene heading? Every time the place changes or the time jumps. When Maya steps from the jetty into the cabin, that's a new place, new heading. When we come back to the cabin a little later, that's the same place at a later time. Interior, the ferry cabin, night, later.
1:56One rule matters more than all the others in Screenweaver. Name a place exactly the same way every time. The jetty is always the jetty. Never the dock in one scene and the pier in the next. Each different name creates a different location. And later, a different set in your storyboard.
2:16Keep headings short and concrete. A place a camera can go to. Not a feeling. The ferry deck. Not somewhere in the fog. If the place needs more detail, that's what the first action line is for.
2:29Here are all the scene headings of the night ferry. So you can see the pattern. Exterior, the jetty, night. Interior, the ferry cabin, night. Exterior, the ferry deck, night. Interior, the ferry cabin, night, later. And exterior, the island harbour, dawn. Five headings. Four places. And the time of day moving from night to dawn. Which is the whole emotional journey of the film. Readable from the headings alone.
3:01A few special cases you'll meet. A flashback. Put it in the heading. Interior, the ferry cabin, night. Twenty years earlier. Or write flashback as the first word of the action. A phone call between two places. Give each place its own heading. And cut between them. And a montage, a series of short images. Write a heading for the main place, then one short action line per image. Clarity first. The reader must always know where and when we are.
3:34Your exercise. List every place of your story and write the scene heading of each scene. With interior or exterior, the place and the time. Next lecture, the action lines. Where the film really happens.