시나리오 포맷 완벽 정리: 대본을 이루는 7가지 요소
초보자를 위한 시나리오 포맷 정리: 한 페이지에 1분이라는 원칙과 모든 대본을 이루는 7가지 요소. 그리고 오늘부터 그만둘 포맷 실수 네 가지.
이 강의에서 배울 내용
- 시나리오가 소설도 샷 리스트도 아닌 설계도인 이유
- 한 페이지에 1분이라는 원칙과 모든 대본이 Courier 12포인트를 쓰는 이유
- 7가지 요소: 씬 헤딩, 지문, 캐릭터 큐, 대사, 괄호 지시문, 장면 전환, 샷
- The Night Ferry의 첫 페이지로 보는, 실제 페이지에서 각 요소의 위치
- 깔끔한 대본이 ScreenWeaver 파이프라인의 나머지에 공급되는 방식
- 초보자의 포맷 실수 네 가지와 피하는 법
시나리오 포맷은 모든 대본이 따르는 표준이며, 이 강의는 그것을 0부터 설명합니다. 시나리오는 팀에게, 오늘날에는 AI 파이프라인에게, 무엇을 보고 들을지 순서대로 알려 주는 설계도입니다. 첫 번째 원칙이 가장 유용합니다. 한 페이지는 대략 화면 시간 1분이며, 그래서 모든 대본이 Courier 12포인트와 같은 여백을 씁니다.
대본의 7가지 요소를 배운 뒤, The Night Ferry의 첫 페이지에서 그것들을 봅니다: 대문자로 왼쪽에 붙은 씬 헤딩, 현재 시제의 지문, 가운데 쪽의 캐릭터 큐, 더 좁은 단의 대사. ScreenWeaver에서는 여백을 맞출 일이 없습니다. 요소를 고르면 페이지가 레이아웃을 맡습니다. 강의는 초보자가 흔히 하는 포맷 실수 네 가지와 페이지 수에 관한 뉘앙스로 마무리됩니다.
전체 스크립트
영어 내레이션의 스크립트입니다.
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.