场次编号工具
把投稿本变成带场次号的拍摄本
粘贴一份投稿本或 Fountain 稿件，这个免费的场次编号工具就会把它变成一份带场次号的拍摄本，号码写在每个场景标题的两侧，也就是制作稿的排版方式。为正在把剧本推向拍摄的写作者、剧本统筹和副导演而造。
投稿本从不带场次号。号码是在剧本为制作而锁定时才加上的，因为每个部门都按场次号给自己的文件建索引：拆解表、进度板、通告单、摄影报告、剪辑记录。一旦锁定，号码就不再移动。加在 12 和 13 之间的新场次会变成 12A，而被删掉的场次会写成「删除」并保留它的号码，索引于是能挺过每一次改稿。
全部在你的浏览器里运行。你的剧本从不离开这个页面，也没有任何内容被上传到服务器。
把一场戏标为插入，它就会拿到一个挂在前一个号码上的字母编号；标为删除，则会去掉内容但保留号码。
- 1INT. KITCHEN - NIGHT
- 2EXT. BACKYARD - NIGHT
- 3INT. HALLWAY - NIGHT
- 4INT. BEDROOM - NIGHT
第一场戏不能标为插入：带字母的场次需要一个在前的号码来挂靠。
带场次号的拍摄本
1 INT. KITCHEN - NIGHT 1 Maya checks the lock on the back door. Twice. 2 EXT. BACKYARD - NIGHT 2 A motion light snaps on. Nothing there. 3 INT. HALLWAY - NIGHT 3 Maya moves toward the bedroom, phone in hand. 4 INT. BEDROOM - NIGHT 4 She stops. The window is open.
工作原理
工具扫描你的文本寻找场景标题（包括以点开头的 Fountain 强制标题），去掉上一轮留下的号码，然后从你选的起点开始按顺序编号。号码会打印在标题的两侧，这是拍摄本的标准格式。你标为插入的场次会拿到挂在前一场上的字母编号（12A，如果你的制作用前缀样式就是 A12），而你标为删除的场次会保留号码，标题被替换成「删除」。Fountain 下载会用 #12# 语法写下每个号码，这样它就能挺过在各种 Fountain 应用之间往返。
场次编号的规则，讲清楚
拍摄本场次号最核心的规则是：它们锁定一次，之后再也不动。剧本一旦锁定，副导演就用这些号码搭进度板，场记对着它们记录覆盖，剪辑部门也按它们给素材箱命名。锁定之后重新编号，会悄无声息地毁掉上面每一份文件，所以任何场次编号工具都不应该为了给新场次腾位置而挪动已有的号码。
这正是带字母场次存在的原因。按惯例，加在第 12 场之后的场次变成 12A（有些制作写作 A12，两种写法都在用），下一个插入变成 12B，而第 13 场原地不动。被删掉的场次以相反的方式遵循同样的逻辑：标题被替换成「删除」，但号码留在序列里，翻着稿子的部门于是知道这场戏是被有意拿掉的，而不是丢了。
把投稿本转成拍摄本，主要就是这一轮编号，外加随后而来的制作页眉。如果你在剧本真正锁定之前就加了场次号，那就做好重跑一遍的准备，这在这个阶段无所谓：稿子还在动的时候，你想跑几遍就跑几遍；等剧本发给各部门时把号码锁定，此后的每一次改动都改用带字母场次和「删除」标记。
适合谁
- 剧本统筹 几秒钟给锁定稿编好号，之后的修订用带字母场次和「删除」标记发出去，而不是重新编号，各部门的文件于是继续有效。
- 副导演和执行制片 拿到一份带场次号的拍摄本来搭进度板和拆解表，哪怕写作者交来的只是一份投稿稿。
- 小团队里的编剧导演 在开拍前就在自己的剧本上学会编号惯例，你的通告单和镜头表于是能像专业片场那样指称场次。
Shooting Script Converter: the complete guide
It detects sluglines in pasted Fountain or plain screenplay text, assigns production scene numbers on both sides of each heading, and lets you mark scenes as inserted (12A style) or omitted before exporting as text or Fountain.
For this workflow, the central problem is clear: spec scripts carry no scene numbers, and numbering by hand (or renumbering after a rewrite) breaks every breakdown, stripboard, and call sheet that referenced the old numbers. Left unresolved, this creates downstream friction and slower decisions. The practical target is a correctly numbered shooting script where inserted scenes get letter numbers and cut scenes read OMITTED, so the scene index stays stable through every revision.
Limitation to keep in mind: It numbers whatever headings it can detect, so malformed sluglines (lowercase, missing INT/EXT prefix, no forced period) are skipped, and it does not manage colored revision pages or track changes between drafts.
Advanced workflow: Coordinators run the tool at lock, archive the numbered draft as the reference copy, then re-run it on each revision using inserted and omitted marks so the new draft can be diffed against department paperwork without a single number moving.
Step-by-Step Workflow
- Paste your spec script or Fountain draft and confirm the detected scene list matches your actual sluglines before touching any options.
- Set the first scene number and pick your number style, then choose 12A or A12 for inserted scenes to match your production's house style.
- Mark late additions as inserted and cut scenes as omitted, and check that every untouched scene kept its original number.
- Export the .txt for printing and distribution, or the .fountain to keep working in Fountain apps with #12# scene numbers intact.
Use Cases By Profile
- Script coordinator: number the locked draft and issue lettered A scenes on revisions instead of renumbering the whole script.
- First AD: pull a numbered shooting script from a spec draft so the stripboard and breakdown sheets share one scene index with the script.
- Writer-director: convert your own spec script to a shooting script and learn the numbering conventions your crew will expect on set.
Common Mistakes To Avoid
- Renumbering the whole script after a cut instead of marking the scene OMITTED, which invalidates every department's paperwork.
- Numbering the draft before it is actually locked, then treating those disposable numbers as the production index.
- Mixing 12A and A12 styles across revisions of the same production, which makes lettered scenes ambiguous on call sheets.
Professional Best Practices
- Lock the script only when departments start building paperwork from it; before that moment, regenerate numbers freely on every draft.
- Keep OMITTED scenes in the distributed draft rather than deleting them, so nobody wastes a morning hunting for a scene that no longer exists.
- If a rewrite adds several scenes in one gap, letter them in story order (12A, 12B, 12C) so the stripboard sorts them correctly.
Treat this tool output as a decision support layer, not a replacement for authorship. Great scripts are remembered for specific choices, emotional precision, and clarity of dramatic movement. Tools help by removing noise so your energy can go where it matters: character, conflict, escalation, and payoff. If you review outcomes after each pass and keep an explicit log of accepted changes, your workflow becomes faster and more predictable from draft to draft. That consistency is exactly what professional collaborators value: fewer surprises, clearer rationale, and a script that evolves with intent.
Extended FAQ
Do spec scripts have scene numbers?
No. A spec script is a selling and reading document, and numbers would only add clutter. Scene numbers belong to the shooting script, where they exist so departments can index breakdowns, schedules, and reports against specific scenes.
How do I lock scene numbers in my script?
Locking is a decision, not a file format: at the start of pre-production you declare a numbered draft the locked script, distribute it, and from then on every change uses A scenes and OMITTED markers instead of renumbering. This tool produces that numbered draft.
Why do scene numbers appear on both sides of the heading?
So the number is visible no matter how the page is held, marked up, or photocopied on set. Left and right placement is the standard shooting script format used by Final Draft, Movie Magic, and studio production offices.
How are scenes numbered when a scene is added between 12 and 13?
The new scene becomes 12A (or A12 in the alternate style), attached to the preceding number. A second scene added in the same gap becomes 12B. Scene 13 keeps its number, which is the whole point of the convention.
Can I renumber scenes after the script is locked?
You can, but you should not: every stripboard, breakdown sheet, and camera report built from the old numbers becomes wrong at once. Production convention is to add lettered scenes and OMITTED markers so existing paperwork never has to change.
What counts as a scene heading for numbering?
Lines starting with INT., EXT., EST., INT./EXT., or I/E, plus Fountain forced sluglines that start with a single period (like .MONTAGE). Action lines, transitions, and dialogue are never numbered.
常见问题
在剧本锁定时，也就是筹备真正开始的时候。投稿稿在流传时不带号码；拍摄本加上号码，好让拆解、排期和通告单都指向同一套场次索引。锁定之前，号码是一次性的，你可以随便重新生成。
它是在剧本锁定之后的修订中，插在第 12 场后面的一场戏。给新场次加字母而不是重新编号，能让第 13 场以及之后的一切保持不动，已有的拆解和排期于是仍然正确。同一个位置的第二次插入会变成 12B。
指在剧本锁定之后被砍掉的一场戏。标题被替换成「删除」，但场次号保留，这告诉每个部门这场戏是被有意拿掉的、不是丢了，同时也让周围场次的编号序列保持完整。
两种惯例都存在。12A（字母在号码后面）是美国制作中最常见的写法，也是 Final Draft 的默认输出；有些制作和英国剧集偏好 A12。为整个制作选定一种写法并坚持下去。这个工具两种都支持。
Fountain 把场次号写在标题末尾的井号之间，比如「内景 厨房 - 夜 #12#」。字母是允许的，所以 #12A# 也有效。.fountain 下载用的就是这个语法，Highland 或 Slugline 这类应用于是能正确读出你的号码。
