Boston Breakdown: The Essential Guide To Car Accident Legalities – Shape. Props. Animal trainers. Trainers for child actors. All are production elements that make up the scene breakdown sheet. Now we’re going to dive into the details and walk you through the complex process of sorting and categorizing scenario analysis elements. Is sound the same as music? Where does dressing end and props begin? Do not worry. We’ve broken down how to identify the most common items below. How to analyze a script for a film production planning begins with a thorough understanding of the elements of production.
A script breakdown is a page (or group of pages) of the scene breakdown. Each analysis sheet corresponds to only one scene in your movie.
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A scenario analysis table typically contains a bunch of fields, each containing a list of items in a category. The scenario analysis software automatically generates the scenario analysis sheet that looks like this:
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And here is a sample analysis of the film for you to open and explore. Click around, scroll through the various categories and elements in scenario analysis. This will give you a better understanding of what we are talking about in the rest of the post.
A resource is an object, person, or process that you need to create a particular scene.
Props, vehicles, actors and stuntmen are all elements. Pieces of production equipment are not objects unless they are specific to scenes (so camera A is not an object, but the GoPro you use for an action scene is).
This can get a little confusing, so we’re going to do a full breakdown of the scenarios, by category, to help you understand what goes where.
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Before we can move on to the script analysis template or open up your film production software, we first need to thoroughly understand the most common categories of script analysis.
This is the standard list of script analysis categories provided by film production scheduling software such as Final Draft Tagger. A class is a group of elements by type.
When creating your scene outline sheet, one of the first categories of items you list is cast members. These are the characters in your script who speak at some point during the film.
Sometimes the non-speaking characters are also cast members. They appear frequently in many scenes and play an important role in the plot. A perfect example of this is Maggie Simpson. Although he never says a line, the baby of the family is definitely a cast member.
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Characters who do not speak throughout the film are usually extras. They are the people behind the staff, the citizens of your members’ world.
Additions can be divided into subcategories such as Atmosphere, which refers to people simply filling a space (such as a crowd in a subway station). There are also Featured Extras, characters who interact in a scene but have no real significance to the story (such as the cashier at the grocery store).
Featured plugins are usually not identified by name, but by the function or role they play (“cop” or “robber”).
When parsing a script, please differentiate between these types of plugins if it’s easier for your production staff. In most movie production programs, you can create a special tag for these elements.
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Although the stuntman is neither an object nor a person, it is still included in the script analysis list. Stunts require additional equipment and personnel, so they are called process elements.
I recommend the first option if your stunt coordinator is organized and takes care of unique stunt logistics. This is recommended for all process elements to prevent analysis sheets from becoming too crowded.
Paint vehicles can include cars, trucks, motorcycles, boats, or other large objects that can carry characters or objects in a scene. Skates, roller skates and other such small means of transport are not vehicles.
When it comes to slightly larger items such as electric scooters or bicycles, there is a “grey area”. Use judgment when determining whether such items are vehicles or props.
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When you’re dealing with very large vehicles like ocean liners or airplanes, you need to treat them like a movie location.
I am presenting a script for a pirate film set entirely on a pirate ship. How do I categorize a ship?
In this case, we bring the production to the ship and simply shoot at the ship while the ship is docked. We do not steer the ship, nor do we make it move. We’re treating this as a location, so I’m not listing the pirate ship as a vehicle element in my example damage scenarios.
But if the movie involved a naval battle where the ship was in open water, you had to make the ship move. And it would run on order from our manufacturing – in this case it would be a vehicle component and would have to be specified.
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The nature category can quickly be filled up. Each scene contains a bunch of small objects that somehow fall into the category of props if you’re not careful.
The truth is that this is a large category, but not every small item in a tent is a prop. As a general rule, if a character interacts with an object, that object is a support, otherwise it’s something else.
But this rule can be confusing. If a character interacts with a set that would otherwise be considered a set – does that change the class of that item?
Is the object part of a set? If not, props. If it is part of a set, is the object handled normally? If not, props. If you handle it normally, then it’s not a prop.
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In this hypothetical scene from my pirate movie, the pirate captain hears a noise outside the cabin and pulls back the curtains to look out the window.
The curtains are part of the set, so we have to ask if they have been treated in the usual way. Opening the curtains is not unusual, so the curtains are not a prop in this scene. (They’re clothed, which is a category we’ll discuss soon!)
What if the pirate captain tears the carpet off the wall with zeal? At that point, curtains are no longer treated in the usual way – that’s why they are props.
But here’s the thing: unless the curtains that rip the window are different than the curtains that will appear on that window at other times in the movie, those curtains are ALWAYS props. Even in split sheets for scenes where they just hang and look pretty.
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We’ve run into this rule before: if a character has a line in one scene and no lines in another, that character isn’t categorized as “cast” on one chart sheet and “extra” on another. This character is “busy” in every scene he’s in, even those where he’s just another face in the crowd.
Like stunts, special effects are procedural elements. Instead of listing all the different elements that make up an effect clip, you can just list the effect as one element and trust the effects monitor to know what the effect requires.
Here’s special effects supervisor Chris Corbould on how he tackled some of the biggest effects he’s ever done.
Special effects are effects achieved on set and not during post-production. Weather phenomena such as rain, wind or snow fall under the “special effects” category, as do some fireworks and explosions. Squib hits are also special effects.
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For each day of the story in your scenario, your characters are (probably!) dressed in costume. On large productions covering several script days, this can be very difficult to track and organize.
You need to develop a system to label each item in your wardrobe so you can keep track of everything.
You can count on your customer to keep track of which garments go with each outfit combination.
Using an asset naming system as programming software can be incredibly efficient, as most film production software can sort your asset list alphabetically. With the click of a button, you can get a list of each player’s individual costume changes.
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The makeup category is really just for unusual makeup (prostheses, wounds, blood, things that only appear in certain scenes and not others).
If you’re working on a film with a lot of makeup, consider naming your makeup items on purpose to keep your list organized.
In this category you list large animals – types of animals that may need their own vehicle to transport them to and from the shoot.
As a result, the script analysis standard and some film production software may show animals in the same category as vehicles.
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Dogs, cats and other small creatures that can be transported in a cage are listed under the Animal Keepers category because they are usually transported to the environment by the handler.
Having live animals on set will affect both insurance and budget, as the position requires an animal trainer, which often costs around $600-1000/day, not including the animals.
Don’t confuse this with a soundtrack! I have seen this category when planning a film production
