如何为 AI 视频制作写剧本：6 个习惯
如何为 AI 视频写剧本：六个习惯，确保你想象的东西就是最终出现在银幕上的东西。你的剧本会被生成图像、声音和镜头的模型读取。
在这一课中你将学到
- 为什么你的剧本会被流程的其余部分和 AI 模型读取
- 为什么每个角色、地点和道具只用一个名字最为重要
- 如何把念头、回忆和情绪变成模型能拍出来的东西
- 为什么更少的角色和地点，能做出更有力的 AI 电影
- 一场戏应该多长，才能干净地拆分成镜头
- 道具和写下的声音如何一直延续到最终影片
在 ScreenWeaver 中，你的剧本不只是给人读的。流程的其余部分也会读它，最终生成你的图像、声音和镜头的模型也会读它。这一课讲解为 AI 视频制作写剧本的六个习惯，而它们本来也都是好的剧本写作习惯。
你会保持名字统一，只写摄影机看得到的东西，像 The Night Ferry 那样限制角色和地点（两个角色、四个地点），控制场景的大小以便拆分成镜头，给指南针这样重要的道具一个真正的任务，并把声音写在纸面上。这些规则没有一条会限制你的故事。它们确保你想象的东西，就是最终出现在银幕上的东西。这是免费剧本写作课程的第 5.4 课。
完整文字稿
英语旁白的文字稿。
0:04In Screenweaver, your script isn't only read by people. It's read by the rest of the pipeline, and in the end by the models that generate your images, your voices, and your shots. That changes a few things about how you write, and they're all good habits anyway.
0:211. Consistent names. We've set it for characters, places, and objects, and it's the single most important habit. One name, one element, one look on screen. A nickname in the dialogue is fine. In a character cue or a scene heading, never.
0:392. Everything visible. A model can't film a thought, a memory, or a mood. It films a face, a gesture, an object, a light. Every time you write a feeling, ask, what would we see? Elias' hand trembles, that's grief, on camera.
0:583. Few characters, few places. The Night Ferry has two characters and four places. Every new character or location is one more thing to design, describe, and keep consistent across every shot. Great short films are often built on a single place and two people. Use that constraint as a strength.
1:204. Scenes the right size. A scene that's half a page to a page is easy to break into shots. A five -page scene in one place will become a long sequence of shots that all look alike. If a scene runs long, look for a natural cut. The change of place, a jump in time.
1:385. Give objects a job. The compass is not decoration, it's the twist. When an object matters, introduce it early. Give it the same name every time, and add it to your story elements, so it looks the same in the first shot and the last.
1:566. Write the sound. Rain on the windows, the engine coughing, footsteps on wet planks. These lines become sound design and atmosphere later. A script that sounds alive on the page gives you a film that sounds alive on screen.
2:13None of these rules limit your story. They make sure that what you imagined is what ends up on screen. Your exercise? Read your script once with these six questions, and fix what you find. Then take the section quiz.