VO, Sound FX from one scene to another

The Lizard · Jan 16, 2007

In my current script there are 2 separate scenes: in one there is a sound effect that should be carried over into the following scene and in the other: dialogue.

I'm using Final Draft software (if that helps).

Any suggestions?

Ly

icerose · Jan 16, 2007

Can you think of any movie that employs that? If so try and find that script.

dpaterso · Jan 16, 2007

Just asking, do characters in the second scene hear the sound? Could you just state this? "Bill and Tom hear the alarm siren."

-Derek

The Lizard · Jan 16, 2007

No, it's not heard by the actors in these 2 scenes. It's a carry-over effect; kinda like an overlay (don't know the term). Have seen it done on screen many times but names escape me.

In this instance:
1. the tailing-off of a letter enters a montage
Later:
2. A gunshot is carried over into the final scene which is also a montage

It's an audience-thing, particularly the last one ... shock value when a young Aboriginal woman who has suffered extreme abuse at the hands of her *owner* shoots his dick off.

icerose · Jan 16, 2007

Seems like you can call up examples of movies, now find their scripts and see how they did it. Best way to learn is through example.

dpaterso · Jan 16, 2007

Maybe just plain English would do,

A GUNSHOT BOOMS over the following montage (or scene):

-Derek

The Lizard · Jan 16, 2007

A GUNSHOT BOOMS over the following montage

Duh! That'll do it. Thankyou

<grins; needs coffee!>
Ly

MrJayVee · Jan 16, 2007

Sound cutting...

I think I'm understanding what you're asking here. In the video tape world, that's called an "L-cut." In film, it's called a "spilt edit." There's another term for it, but I can't think of it at the moment. Point is, it doesn't really matter since your job as screenwriter doesn't really entail determining how the sound/picture are cut; that's determined by the director in the editing room.

The Lizard · Jan 17, 2007

Point is, it doesn't really matter since your job as screenwriter doesn't really entail determining how the sound/picture are cut; that's determined by the director in the editing room.

Understood, but the majority of my income is derived from my writing - the clearer and more succinctly I can present it the better likelihood of a sale ... directors/editors do what they do anyway - it's all art and, ah, money.

Joe Calabrese · Jan 17, 2007

INT. HALLWAY - DAY

Bob raises his pistol and fires at Jim.

The shot rings out and...

INT. ROOM - SAME

... echoes throughout.

The detective ducks behind the couch and gets on his radio.

-----

I use this a lot for visual match cuts, but I guess it can work for audio too.

scripter1 · Jan 17, 2007

I was thinking

MATCH CUT

where we end one scene with an item or sound and then enter another scene with that same image.

The item/sound is the vehicle that brings the audience through time and space to the new scene.

If there is a huge time difference between our first experience with the sound or item then you would just repeat the action direction and tell us what else is going on.

Maybe you can post the scene in question so we can see it in context?

The Lizard · Jan 18, 2007

INT. OFFICE OF ROBERT REDE - NIGHT
The room is dimly lit by a single lamp. Mindai is sitting alone behind Rede’s desk, back ramrod straight, very calm, her hands in her lap.
There is banging and scuffling outside - Rede VO profanities. Rede enters the room smashing the door open, a riding crop in one hand and a whisky bottle in the other. He is staggeringly drunk and cocky until he sees Mindai. He is outraged.
REDE
Wa’the ... get the fuck away from my desk!
He moves towards her raising the riding crop and Mindai lifts her hands to the desk. She is holding Lalor’s revolver. The hammer is cocked and she points the gun directly at Rede who stops in his tracks.
REDE (CONT’D)
(snorting a laugh)
Stupid fucking gin! You--
Mindai lowers the barrel of the gun until it points directly at Rede’s genitals and fires. He screams.
CUT TO:
EXT. GOLDFIELDS - PANORAMA - AFTERMATH - SUNRISE
CARBONI (V.O.)
Dear Papa, I not know what happen now. I am arrested and charge with high treason. If you get letter please pray for us. I not afraid to die for what we have done. Libertà! Your loving son, in the hands of Mariae semper Virgini. Christe eleison, Rafaello.
THE END.

In this particular sequence it is the scream that will carry over. The only thing I have left to do with this script is to add the transition and the visuals of the battle's aftermath.

Many thanks for this - I have sent out queries and synopses for "BAKERY HILL" and there is already interest in this screenplay from a couple of sources. The cleaner I can present it the better!

Ly

scripter1 · Jan 19, 2007

Yep,

you can MATCH CUT this.

....and fires. He SCREAMS.

SLUG

MATCH CUT

SCREAMS.
A mortally wounded man. Others lying dead, victims of a brutal battle.
etc, etc.

You don't have to all cap if you want. Now that I'm seeing it it looks like a bit too much. I like all caps because it stands out.
Here, maybe the full slug will make it look more natural.
And, I couldn't remember which goes first, the slug or the cut.
Have to go check my bible.

Play around with the actual wording but yeah, I think a Match Cut will work.

Joe Calabrese · Jan 20, 2007

Scripter is close but the match cut should go at the end
of the previous scene since it is a transition from
one to the other.

I would do it like this and I would trim up your action and make it more active (less ing's, etc)...

INT. OFFICE OF ROBERT REDE - NIGHT

In this dimly lit space, Mindai sits alone behind Rede’s
desk, back ramrod straight, very calm, her hands in her lap.

OUTSIDE, Rede's banging and scuffling blends with his
indiscernable profanities.

Suddenly, Rede smashes the door open, a riding crop in one
hand and a whisky bottle in the other. Drunk and cocky,
he staggers in until he sees Mindai. He is outraged.

REDE

Wa’the ... get the fuck away from
my desk!

He moves closer, readying his riding crop. Mindai lifts her
hands to the desk. She reveals Lalor’s revolver-- the hammer
cocked and pointed directly at Rede. He stops in his tracks
and snorts out a laugh. (whenever possible make parentheticals
into action, especially when it is action)

REDE (no need for Cont)

Stupid fucking gin! You--

Mindai lowers the barrel of the gun until it points directly at
Rede’s genitals.

She fires and he SCREAMS.

MATCH CUT TO:

EXT. GOLDFIELDS - PANORAMA - AFTERMATH - SUNRISE

Rede's SCREAM echoes in the wind.

CARBONI (V.O.)

Dear Papa, I not know what happen now.
I am arrested and charge with high treason.
If you get letter please pray for us. I not
afraid to die for what we have done.
Libertà! Your loving son, in the hands
of Mariae semper Virgini. Christe eleison,
Rafaello.

THE END.

The Lizard · Jan 20, 2007

Many thanks! I also need this MATCH CUT in the one I'm writing now!
Added to my bible.

<bows to sensei>

Ly

jonpiper · Jan 20, 2007

You could also open the following scene with actions that cause the same or similiar sounds much like when at the end of a dream sequence screams are heard in the dream and in the following scene a character is screaming to wake the dreamer.

INT. OFFICE OF ROBERT REDE - NIGHT

Blah. Blah. Blah.

indai lowers the barrel of the gun until it points directly at
Rede’s genitals.

She fires and he SCREAMS.

EXT. GOLDFIELDS - PANORAMA - AFTERMATH - SUNRISE

A man screams. Shots fire. A flock of birds dart into the sky from the brush.

CARBONI (V.O.)

Dear Papa, I not know what happen now.
I am arrested and charge with high treason.
If you get letter please pray for us. I not
afraid to die for what we have done.
Libertà! Your loving son, in the hands
of Mariae semper Virgini. Christe eleison,
Rafaello.

The Lizard · Jan 21, 2007

Thanks Jonpiper ... but the battle is well over and the arrests have already been made.

BUT ... have done exactly that in my new work ... weird but interesting!

Ly

Bmwhtly · Jan 21, 2007

If you just need to know how to script it, track down the script for "Once upon a time in America", they have a phone ringing over the first half-hour.

williamd · Jan 22, 2007

Hi Lizard, I would agree with MrJayvee. Directors will make a judgement call on the fx.

As long as the end to the scene is clearly written, any director or editor with half a brain will carry the effect on.

Joe Calabrese · Jan 22, 2007

I do think it's okay to, once and a great while, to speckle visual (or in this case, audio) elements, transitions, etc... that are fun and unique. I usually limit myself to two per script, but I usually make it relevent to the story and not just eye (or ear) candy.

But...

Do not over do it. It's not your job.

It rarely is relevant to the story or adds to the story.

It makes you look like an amateur.

It's not your job.

The Lizard · Jan 22, 2007

But that's just the point, Joe, I am an amateur ... at scriptwriting. It's a whole other ballgame to writing books. And the plethora of different opinions is a bit daunting at times.

Ly

Joe Calabrese · Jan 22, 2007

I meant to say amateurish, something even an amateur shouldn't be.

jonpiper · Jan 22, 2007

The Lizard said:
But that's just the point, Joe, I am an amateur ... at scriptwriting. It's a whole other ballgame to writing books. And the plethora of different opinions is a bit daunting at times.
Ly

Liz, not only the plethora of different opinions but the great variety of devices and techniques available. As ametuers we want to put everything into the screenplay. Intercuts, voice overs, carry over actions and sounds from one scene to another, etc., etc.

Some times we force a device into the screenplay without realizing an experienced reader will think our effort is a cliche.

scripter1 · Jan 23, 2007

The screenwriters job

is to 1 put forh the basic needs and info of the story
and 2 to give it just enough flavor to be interesting.

Sometimes a bit of FX, or cuts, or what ever is needed.
Learning the craft is all about discovering that balance.
So, you start out with too much, or not enough and you start working towards the middle. Sometimes you cross over to the other direction and then have to come back.
Eventually you get a sense for what works and then you can begin to do it naturally.

dpaterso · Jan 23, 2007

And of course, it depends on whether you're already talking to people who make films and are interested in seeing your scripts, or are doing what most of the rest of us are doing, following the spec writer's rough rule of thumb guidelines that say use camera directions, effects, and other filming terms sparingly, if at all, in case you piss off a script reader (flint-hearted guardians of the prodco gates).

A couple of interesting articles from the tips thread, if you haven't already seen them:

The New Spec Style by David Trottier:
http://www.writersstore.com/article.php?articles_id=2

RULES FOR ADAPTATION by Michael Hauge:
http://www.screenplaymastery.com/Rules.htm

-Derek

VO, Sound FX from one scene to another

The Lizard

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