SCREEN WRITER CLUB - MALAYSIA

Program Artis, Komposer & Single

2009-06-02T16:00:00.000+08:00

Persatuan Karyawan Malaysia mengambil inisetif untuk menganjurkan satu hub lagu yang dipanggil “Program Artis, Komposer dan Single” yang akan mengetengahkan karya ciptaan para komposer baru dan lama .

Karyawan akan bertindak sebagai pengkalan data lagu-lagu yang dihantar bagi memudahkan para artis yang ingin merakamkan single untuk ke sesi pra-dengar material . Pihak Karyawan juga akan menguruskan beberapa perkara seperti pemasaran single ini melalui sistem muat turun telekomunikasi dan lain-lain aspek berkaitan setelah lagu-lagu dipilih dan dirakam oleh artis.

Ini merupakan satu ruang yang akan membantu banyak pihak didalam industri muzik meliputi para komposer baru dan lama yang ingin mengetengahkan bakat mereka , memberi kemudahan dan pilihan kepada para artis untuk mencari lagu baru seterusnya membuka peluang untuk memasarkan produk mereka.

Program ini terbuka kepada semua komposer dari pelbagai golongan dan genre muzik . Bagi Sesiapa yang berminat boleh menghubungi pejabat Persatuan Karyawan Malaysia ataupun En Ahmad (+6012 3006084)

Majlis Jom Mesra Bersama SWAM

2009-06-02T15:30:00.000+08:00

Presiden dan AJK Persatuan Penulis Skrin Malaysia(SWAM)

dengan segala hormatnya mempersilakan

…………………………………………………………………………………………………

ke Majlis Jom Mesra Bersama SWAM

Pada: 10 Jun, 2009

Masa: 8.00 – 11.00 malam

Tempat: Restoran Lemon, G-CQ3 MINES Shopping Fair/Complex, Seri Kembangan

Majlis Jom Mesra Bersama SWAM bertujuan menjalin persefahaman serta merapatkan hubungan di antara para penerbit dan stesen-stesen TV dengan para penulis skrin yang menganggotai SWAM. Dalam pertemuan ini juga SWAM akan membuka kesempatan mengadakan sesi pitching dengan harapan pihak-pihak yang berkenaan berpeluang berurusan secara terus-menerus di antara satu sama lain.

Mohon saudara/saudari dapat mengesahkah kehadiran dengan menghubungi Cik Norrasidah (019 255 9196), Puan Asmira (012 646 3240), Encik Hakimi (012 399 1535) atau email : swamadmin@gmail.com atau faks sebelum atau pada 7/5/2009.

Salam mesra,

DATIN RUSILA HASHIM

Pengerusi Jawatankuasa Majlis

016 2526 836

Tema: Santai tetapi bersemangat • Makan Malam

Pengesahan Kehadiran melalui faks (SILA FAKS mukasurat ini ke 03 6141 2319)

Saya/kami dapat hadir Bilangan _________

Saya/kami tidak dapat hadir

Kursus Penulisan Drama TV Bersiri

2009-06-02T15:23:00.000+08:00

P E R S A T U A N P E N U L I S S K R I N M A L A Y S I A

S C R E E N W R I T E R S G U I L D O F M A L A Y S I A

Industri skrin bermula di sini !

20hb. Mei 2009

AHLI-AHLI SWAM DAN MEREKA YANG BERMINAT

Tuan/Puan,

PER: KURSUS PENULISAN SKRIN DRAMA TV (BERSIRI)

Dengan segala hormat takzimnya saya ingin memaklumkan bahawa Persatuan Penulis Skrin Malaysia (SWAM) akan menganjurkan Kursus Penulisan Skrin Drama TV (Bersiri) bagi menjayakan program-program pendidikan dan latihan semula (reskilling) penulis-penulis skrin. Kursus ini dianjurkan dengan kerjasama Perbadanan Kemajuan Filem Nasional Malaysia (FINAS), demi pembangunan dan kemajuan industri perfileman dan penyiaran tanah air.

2. Kursus Penulisan Skrin Drama TV (Bersiri) ini akan berlansung selama 40 jam untuk memenuhi syarat sijil bagi pembelajaran “Core Subject” dalam kursus perfileman dalam satu semester. Kursus ini akan diadakan pada setiap hari Ahad selama 5 hari bermula pada 14, 21, 28 Jun, 5 & tamat pada 12 Julai 2009.

3. Objektif kursus ini diadakan ialah untuk

3.1 Memberi latihan kepada penulis-penulis skrin yang sedia ada dengan tujuan melahirkan modal insan yang berkualiti.

3.2 Meningkatkan kualiti karya di kalangan penulis dengan menggunakan pendekatan dan kaedah yang betul dalam menggarapkan karya mereka.

3.3 Memperluaskan kegiatan SWAM kepada masyarakat industri perfileman.

4. Kursus ini ditawarkan kepada semua penulis skrin

4.1 Yang telah atau sedang menulis screenplay drama TV, atau

4.2 Yang berhasrat menulis drama TV

5. Kursus ini dikendalikan mengikut format berikut:

a. Ceramah

b. Aktiviti

c. Latihan

6. Kemudahan yang disediakan selain daripada bilik kuliah dan makan minum adalah seperti berikut:

o 1 atau 2 Komputer dengan pengisian software “Final Draft”

o White board, marker dan duster

o Pemain VCD, projector dan speaker

o Kemudahan Power point

o Kemudahan fotostat dan kertas A4

Semua perserta digalakkan supaya membawa laptop masing-masing jika ada

7. BAYARAN

7.1 Ahli SWAM dikenakan yuran pendaftaran sebanyak RM 30 seorang.

7.2 Bukan Ahli SWAM dikenakan yuran pendaftaran sebanyak RM 300 seorang.

7.3 Bayaran boleh dibuat atas nama Persatuan Penulis Skrin Malaysia dan dihantar kepada alamat berikut:

Persatuan Penulis Skrin Malaysia

Kompleks Studio Merdeka

Jalan Hulu Kelang

68000 Ampang, Selangor

Tel : 012 399 1535 fax: 61412319

8. TARIKH TUTUP

8.1 Tarikh Tutup Permohonan ialah 8 Jun 2009

8.2 Tempat adalah terhad kepada 25 perserta sahaja

SWAM amatlah mengalu-alukan penyertaan daripada ahli, penulis, warga industri, pegawai stesyen penyaiaran dan sebagainya.

Sekian, terima kasih.

Yang menjalankan tugas,

(DATIN RUSILA HASHIM)

Setiausaha Kehormat

My Video Production

2009-05-26T17:56:00.000+08:00

Find me in "The Oriental Culture of Yeslam- at Starhill, Bukit Bintang"

Bengkel Penulisan Skrip Drama TV By Martias Ali

2009-05-26T15:04:00.000+08:00

Berlangsung pada 14 Dec 2008 lepas, penulis skrip TV tersohor di Malaysia, Martias Ali mengadakan kursus/bengkel penulisan skrip Tv di Mini Pawagam Finas, dengan sambutan yang amat memberangsangkan. Terima kasih di atas sumbangan beliau dalam memperkayakan industri ini.

THE ART OF PITCHING

2009-05-25T13:49:00.000+08:00

THE ART OF PITCHING

Make no mistake; pitching is an art. Every screenplay begins with an idea and if you want to write a screenplay based on your idea, then the chances are you're going to have to pitch it to someone; it could be a producer, a director, a production executive, an agent or anyone in the business.

A pitch is nothing more than a verbal presentation of a notion, concept, situation, idea, or story. It can be augmented with photographs, casting suggestions, newspaper articles, clippings, or anything else that will help you in the "selling" of your idea.

When we talk about pitching, we're talking about the presentation of an idea. That means it's your responsibility to convince a production executive (s), or agent, or producer, whoever it might be, that your idea is so good, so unique, so hip, that they want to develop it into a screenplay and pay you for doing it.

When you pitch, you've got to remember that you're pitching story, and while character and action may be the glue that holds everything together, it all starts within the context of story.
In any pitch meeting you've got about 15 or 20 minutes to do your stuff. That means knowing the key structural points of your story. How you're setting up the story, who the story's about, the changes that he or she goes through; in other words, what is it about your story that will make an audience plunk down the cost of admission to see your movie.

Before you even begin to present your idea, your story line needs to be structured into the key elements from beginning to end. It means knowing the personalities and intricacies of your characters. It means rehearsing your presentation so the person you're pitching is hanging on every word. It's your job to keep the listener, the buyer in this case, perched on the edge of his or her seat.

Your idea must be presented with passion, clarity and confidence. You need to know the beginning, middle and end of your story. Can you name three actors or actresses who could play the lead? Two or three directors who you think would respond to the material. Can you reference your idea with a few movies that have been successful, including the amount of monies those films have grossed. These are valuable aids in the pitching process.

What do studio executives look for in a pitch? That's a question I posed to several top film executives and they all agreed; they want to hear something interesting, something they can turn around and sell. So your manner of presentation, your attitude, even the clothes you're wearing, goes into the whole package of what makes a good pitch.

One executive shared that "when a writer pitches me, I'm always thinking - would I want to see this movie? Is it different than anything I've seen before, or is it the same old thing only with a slight twist? I want to see something original, not a variation on a film that's already out there. I want to see how well the story is worked out. Does the writer know their material cold and, most importantly, is he or she really committed to it. Don't think you're going to sell something to me that you're not committed to, no matter what, because I can smell it. Then I say to myself, if they're not committed to it, how can I be? I look for someone who believes in what they're saying."

Words to think about.

Nobody is immune to the pitching process. Writers pitch to executives. Executives pitch their executive team. Then to the head of production. Then the head of production has to pitch to the CEO. And, so it goes.

What does a "normal" pitching session look like?

"Fifteen or twenty minutes," says one studio executive. "That's the longest. I have writers come in who are wonderful, and they go on and on for forty-five minutes. Sometimes I just cut it short because it's obvious they're rambling. Pitching is the style of presentation; you have to win someone over with the energy and theatrics of it."

In a typical pitch meeting you'll schmooze for a few minutes while waiting for an opportunity to say I'd like to tell you about my idea. Then introduce the idea by telling a few lines about the overview of the story. For example, this is a story about a private detective who's hired by the wife of a prominent man to find out who he's having an affair with. In the process, he becomes involved in several murders and uncovers a major water scandal. That's how the pitch for Chinatown began.

Once you've got your opening three-sentence story line, you can establish the structural dynamics of the story; the beginning, middle and end. Plot Point I and Plot Point II. Design your story line in a way the executive can "see" the story. Now, what's the resolution of the story? Not the specific scene or shot, but the solution; does your character live or die, succeed or fail, win the race or not, get married or not? Perhaps the executive will suggest another ending - what do you do then? Can you get behind it?

Remember, a good pitch is something that gets bought. To walk out of that room and say, that was a great pitch meeting, and then they pass on your project, what does that do?
So, here's some key reminder points from a top production executive at a major motion picture company:

• Pitching Etiquette - be on time and be prepared to wait.

• Impress your audience - you're hoping to start a business relationship. So, dress appropriately, prepare your presentation, and look for any pitching aids, like photographs.

• See if you can read your audience.

• Things to expect and anticipate - the executive on the other side of the desk taking phone calls during your pitch, or having several other execs in the room, etc.).

• First impressions...what's the best way to handle the introduction (including the all-important pitch on who you are, and what your background is).

• Improvisation - what do you do when you fumble the pitch - how do you recover? .

• When the exec's eyes glaze over, are you ready to move to "Plan B." Or, "What else do you have?"

• "The leave behind" - a one or two page summary - setting up the follow up time to call....
To summarize: The executive looks for a "great idea." Think about the passion and manner of your presentation. Your writing ability always comes in second. Everybody's a buyer and seller in Hollywood. It is the Town of Sell, built on a foundation of hype, fear, greed, insecurity and ego. Pitching something just because you think it's commercial is a real trap. The trick is to find a commercial idea that you really want to write; not because it's commercial, but because you love the idea.

Yes, pitching is an art. How well you do it depends upon two things: the idea behind your screenplay and how well you present it.

Good luck.

How To Pitch A Movie By Andrew Lazar

2009-05-22T17:18:00.000+08:00

Pitching a story By JOE GRIMM

2009-05-22T16:12:00.000+08:00

Pitching a story
By JOE GRIMM
Detroit Free Press
Recruiting and development editor

Even after 25 years of newspapering, I pitch ideas that never make it to the plate. When that happens, I have to try someone else, or go back, re-evaluate what I'm pitching and try again. Sometimes I have forgotten my own advice for pitching a story. It is:

• Pitch ideas, not topics. While the maxim is "if you can't write your idea on the back of a business card, you don't have one," editors need more than that. "Rave parties" is not a story idea. "Garage sales" is not a story idea. These are topics. A fully fleshed story idea has a news peg and answers the question, "Why are we doing this now?" The answer "because we never did it before" is lame. A story idea has news elements -- currency, importance, conflict or resolution. Editors do not deal in three-word ideas. They deal in budget lines. Get a look at the news budgets used at the newspaper for story meetings. See how the stories sound on there. Develop a budget line for your story idea.

• Prepare your pitch with a little reporting. Talk to some people. Search the newspaper's library. Is this really a new idea? You don't want to be pitching a story that was written six months ago. Do some reporting to flesh out the idea. Who is behind the story? What make it news? How is it developing? Why does it matter to our readers?

• Make the case. You want to pitch a story about a quirky little diner that is shutting after a short but successful run. It doesn't sound like much of a story -- unless you can say that the diner attracted a large clientele from the city's legal community. Or was the only place where homeless people and business people ate, side by side. Or was the only place in the city that served gazpatcho, and now people will have to drive a hundred miles to find it. Or the owner is closing shop because she is going to take the profits and sail around the world. Do enough reporting so that the editor can take this story into a news meeting and talk it up to other editors. Don't blurt out a story idea on your hunch alone. Poke around. Chances are your instincts are good, but you need to deliver some specifics.

• Understand what the newspaper is looking for. If you come up with a story that connects to one of the newspaper's key initiatives, you have something. They say they care about the well-being of children and you have a story about children having no safe place to play. You're onto something. Find a child who exemplifies that and who could be the lead for your story.

• Look at it from the editor's point of view. This is not selling out or "playing the game," this is framing your idea in a way that will strike the right chords with the newspaper and get your story into print.

• Try another angle. You've sharpened, focused and retooled. No dice. There may be another avenue. Sometimes you're pitching the wrong editor. If the metro editor won't take it, will the features editor? Could it be a photo story? There's more than one way to get an idea into print.

• Finally, explain why you think the story is important. You and the editor may have different perspectives, but you're not from different planets. Listen to the editor's questions. Find out what it will take to move your idea to the story stage. Be willing to explain, negotiate and sharpen the idea.
If your pitch falls flat, it's easy to blame it on an editor. Too easy. If your story matters to you, find a way to recast it and pitch it again so that the editors can see what you have. Don't drop the idea at the first obstacle. If you really have a good idea, it deserves more than a half-hearted pitch.
And, remember. Even I, after 25 years in the newsroom, many as an assigning editor and news editor, sometimes can't get my ideas into the paper. But I don't stop trying.

DANA PEMBANGUNAN SENI FILEM & MULTIMEDIA

2009-05-22T15:59:00.000+08:00

DANA PEMBANGUNAN SENI FILEM & MULTIMEDIA

PENGENALAN

Dana Pembangunan Seni Filem & Multimedia diwujudkan bertujuan melahirkan karya filem Malaysia yang bermutu tinggi yang diiktiraf di peringkat antarabangsa serta menggalak pertumbuhan bakat dan memajukan tahap profesionalisme para penggiat dan pengamal filem. Skim ini dikendalikan oleh sebuah Jawatankuasa yang terdiri dari kalangan karyawan dan penggiat filem.

OBJEKTIF

* Meningkatkan kuantiti dan kualiti penerbitan filem terutama filem pendek, dokumentari & animasi.

* Menempatkan industri filem Malaysia ditahap yang sewajarnya diperingkat antarabangsa.

* Menghargai karyawan dan seniman filem Malaysia mencapai kejayaan di peringkat antarabangsa.

* Menampilkan kemampuan pembikin filem tempatan di peringkat antarabangsa.

SKOP

Pembiayaan bagi menerbitkan filem pendek / dokumentari / animasi yang bermutu tinggi termasuk pembangunan skrip

TERMA PEMBIAYAAN

Jumlah Pembiayaan – Bantuan Penerbitan

Tidak melebihi RM20,000 untuk penerbitan video pendek (tidak melebihi 30 minit)

Tidak melebihi RM50,000 untuk penerbitan dokumentari / animasi (tidak melebihi 60 minit)

KELAYAKAN PEMOHON

* Warganegara Malaysia berumur 18 tahun ke atas

* Persatuan / Kelab Perfileman yang diiktiraf

* Karyawan yang dikenalpasti oleh Jawatankuasa

KAEDAH PERMOHONAN

Bantuan Penerbitan

Bagi permohonan penerbitan, kertas kerja mestilah disertakan dengan dokumen-dokumen berikut :-

* idea / konsep cerita

* anggaran kos produksi;

* cadangan artis / krew filem;

* pelan pemasaran / promosi;

* kenyataan sumber modal tambahan; dan

* latarbelakang dan pengalaman perfileman pemohon

Permohonan Yang Lengkap

Borang & permohonan yang lengkap di alamatkan kepada :-

Urusetia

Dana Pembangunan Seni Filem & Multimedia

Perbadanan Kemajuan Filem Nasional Malaysia (FINAS)

Lot 1662, Batu 8, Jalan Hulu Kelang

68000 Ampang, Selangor.

( u.p. Unit Dana & Insentif )

Pemilihan

Jawatankuasa akan membuat penilaian terhadap semua permohonan yang lengkap dan memenuhi kriteria. Permohonan akan dijemput untuk menghadiri sesi temuduga / pitching. Pemohon akan dimaklumkan keputusan melalui surat.

10th Gerak Khas

2009-05-18T15:29:00.000+08:00

Tahniah pada skop production kerana berjaya bertahan hingga 10tahun rancangan kesukaanramai GERAK KHAS.

Telemovie Ihsan Part 1 of 8

2009-05-11T12:34:00.000+08:00

LATIHAN MEMBACA SKRIN TELEMOVIE

Anda dikehendaki membuat simple treatment untuk cerita ini.

TELEMOVIE : IHSAN

Kisah mengenai seorang anak yang durhaka kepada keluarganya terutama ibunya...

TREATMENT

(Lihat Lampiran)

PELAKON UTAMA

ZAMARUL - Nordin

DYNAZ – Anita

ZAFRUL – Zamri

KARTINA AZIZ – Mak Timah

ABU BAKAR JUAH – Koperal Mansur

PELAKON PEMBANTU

KISMAH JOHAR – Ibu Zamri

SHAFIQ – PO Saiful

AZRUL – Malik

ZUBAIDI – Ayah Anita

ROHANI AHMAD – Mak Anita

DINI JURI – Imam

PELAKON TAMBAHAN

MOHAMAD RAMZLI

ERMAN RIZLAR

NORNASNIMAH JAAFAR

NORI ABDULLAH

SKRIP – ZABIDI MOHAMED

PENGURUS PENERBITAN – AZMAN BACHIK

PENOLONG PENGARAH – CHE YUN MUTALIB

PERALATAN – COMEL

PEMBANTU PERALATAN – AZMI JEFRI

KESINAMBUNGAN – DYNA

PEMBANTU AM & PERALATAN – KABIR

AGENSI PELAKON – ZUL TALENT AGENCY

UNIT PENGAMARAN – NUR TV PRODUCTION

PASCA PENERBITAN – LAYAR CONSULT SDN. BHD.

JURUKAMERA – MOHD. YUSRI AYOP

PEMBANTU JURUKAMERA – MOHD. AZUAN ABDUL HALIM

JURU LAMPU – MOHD. RAZALI

PEMBANTU JURU LAMPU – CHE MAT

JURU AUDIO – SUNNY A. SAMAN

SUNTINGAN – FAUZEE YAHYA

PEMBANTU PENYUNTINGAN – MOHD. HAFEZ HARUN

ADUNAN AUDIO – FAUZEE YAHYA

PENERBIT PENYELARAS – MOHD. YUSRI MOHD YUSOF

PENERBIT EKSEKUTIF – ABDUL HALIM CHE PA

PENERBIT – HJ. ABU HASSAN MORAD

PENGARAH – MURALI ABDULLAH

Note: Cerita ini ditayangkan & dibincangkan utk tujuan pembelajaran semata-mata

Filem Animasi Pendek - Burung oh Burung

2009-05-11T12:25:00.000+08:00

Kami harap anda mampu melihat dari sudut seorang Penulis Skrip mengenai File Animasi Pendek ini yang bertajk "Burung Oh Burung".

KRISIS DAN KONFLIK DALAM FILEM

2009-05-05T18:21:00.000+08:00

KRISIS & KONFLIK DALAM FILEM

Pengenalan

Krisis dan konflik merupakan 2 elemen penting dalam filem kerana tanpanya filem itu tidak mungkin mempunyai sebarang elemen dramatik. Filem dan drama tempatan hanya berfokus kepada konflik yang merupakan hanya sebahagian daripada elemen dramatik. Oleh demikian, filem dan drama tempatan kelihatan kurang hebat jika dibandingkan dengan filem dan drama luar negara.

Krisis
Dalam filem krisis merupakan Satu detik atau situasi amat genting atau menentukan atau satu turning point. An Unstable Condition (keadaan mencemaskan) dalam pergerakan politik, social dan ekonomi yang mendesakan perubahan. Perubahan drastik secara tiba-tiba dalam kehidupan, pengurusan atau penyakit yang mencemaskan.

Satu event yang memberi tekanan emosi atau satu perubahan traumatik dalam kehidupan sebuah negara, masyarakat, keluarga atau individu. Satu detik dalam drama di mana konflik tiba di kemuncak ketegangan dan memerlukan keputusan. Dalam Bahasa Cina Krisis dikenali sebagai weiji. Wei (危) bermaksud "danger, dangerous (bahaya); endanger, jeopardize (membahayakan); perilous (amat berbahaya); precipitous (curam), precarious (dalam keadaan bahaya dan mencemaskan); high (tinggi); fear, afraid (ketakutan)".

ji (機) bermaksud "machine, mechanical (mesin atau mekanikal); airplane (kapal terbang); suitable occasion (keadaan selesa); crucial point (saat genting); pivot (pasak)(; incipient moment (detik permulaan); opportune, opportunity (peluang); chance (nasib baik); key link ( hubungan utama); secret (rahsia); cunning (licik)".

Contoh Krisis: Krisis Keluarga, Rumah tangga, Krisis ekonomi / perniagaan, Krisis masyarakat, Krisis Negara, Krisis Dunia, Krisis psikologi, Krisis identiti, Krisis kesihatan, Krisis kesukanan, Krisis politik, Krisis agama, Krisis pertanian, Krisis remaja, Krisis warga emas, Krisis jalan raya / kapal terbang, Krisis bencana alam, Krisis penyakit / penyakit berjangkit dan lain-lain.

Soalan: Apakah krisis atau krisis dalam objective dan subjective storyline anda?

Konflik
Konflik adalah satu perseteruan yang sedang berlaku atara 2 pihak (individu atau kumpulan) apabila pihak-pihak itu mempunyai matlamat berbeza dan cuba mempengaruhi atau menggagalkan usaha pihak yang lain. Konflik berbeza dengan persaingan walaupun konflik mungkin muncul akibat persaingan.

Konflik wujud disebabkan perbezaan kepentingan, nilai-nilai, ideologi, tindakan atau matlamat.
Contoh konflik: Konflik antara invididu (interpersonal), Konflik emosional, Konflik antara kumpulan, Konflik dalam atau antara komuniti, Konflik negara (perang saudara, kempen pilihan raya, dll), Konflik antarabangsa, Konflik dengan alam sekitar, Konflik ideologi, Konflik diplomatik, Konflik berbentuk ekonomi, Konflik tentera dan Konflik berdasarkan agama.

Bengkel Teknik Pantas Mencipta Skrip Telemovie

2009-04-28T18:26:00.000+08:00

Bengkel Teknik Pantas Mencipta Skrip
25 April 2009 di PAWAGAM MINI FINAS

Bengkel ini membincangkan cara membuat skrip dengan sistematik dan cepat. Dan kaedah skrin berkomunikasi dengan penonton juga ditekankan, supaya penonton tidak jemu melihat hasil skrip kita.

FORMAT SCREENPLAY

2009-04-28T18:12:00.000+08:00

FORMAT SCREENPLAY

A. Screenplay Page Properties

Peraturan: Screenplay ditulis atas kertas putih A4 (Di Amerika kertas putih 8 1/2" x 11") dan menggunakan stapler atau comb binding (di Amerika menggunakan 3-hole punched binding). Nombor muka surat muncul di sudut kanan di sebelah atas (dalam header). Tiada nombor di muka surat pertama. Type style yang digunakan ialah Courier 12 font. Margin atas dan bawah adalah di antara .5" and 1". Margin kiri adalah antara 1.2" and 1.6". Margin di kanan adalah antara between .5" and 1".Kelebihan ruang kiri adalah untuk memudahkan binding sambil mengimbangkan teks dalam muka surat. Font Courier 12 digunapakai untuk menghitung durasi filem (timing purposes). Lazimnya 1 muka surat yang ditaip dengan font Courier 12 adalah 1 minit durasi tayangan (film time). Pembaca yang berpengalaman dapat menghitung durasi tayangan dengan menimbang screenplay dengan tangan.

B. Ketebalan Skrip (Script Length)

Lazimnya satu screenplay filem cereka mengandungi antara 95 dan 125 muka surat. Di Hollywood jarang terdapat skrip yang lebih tebal daripada 114 muka surat. Skrip komedi lazimnya lebih pendek daripada skrip drama. Tetapi jika anda menulis skrip drama yang penuh dengan aksi, skrip drama anda mungkin lebih pendek. Anda mungkin mengambil masa hanya 10 saat untuk membaca tetapi masa filem adalah 45 saat.
Contoh:
Cpl. Owens menanggalkan packnya lalu mengambil machine gun. Dia berlari dari pintu ke pintu, mengelak tembakan musuh sambil membalas tembakan, sehingga dia sampai ke menara loceng di gereja itu.

Tip Penulisan: Jika screenplay anda penuh dengan scene-scene sebegini, skrip itu mungkin tidak mengandungi banyak muka surat tetapi ini tidak bermakna filem anda pendek. Penulis skrin lain mungkin menulis scene yang sama sehingga setengah muka surat kerana setiap penulis akan menulis dengan gaya tersendiri dan berbeza. Screenplay yang setebal 125 muka surat dianggap terlalu tebal untuk filem cereka. Ketebalan adalah komponen yang penting dalam skrip. Apabila produser menerima screenplay anda, dia akan mengimbasnya sekilas pandang dan terus ke muka surat terakhir untuk menilai panjangnya. Walaupun skrip anda itu paling hebat, produser mungkin tidak akan membacanya kerana terlalu panjang.Faktor ekonomi menyebabkan industri tidak berminat dengan skrip panjang. Filem yang berdurasi kurang daripada 2 jam bermakna lebih tayangan setiap hari dan memberi pulangan yang lebih kepada pemamir, pengedar, penerbit dan mungkin kepada anda sebagai penulis skrin.Apabila sedar screenplay anda terlalu panjang anda perlu memendekkannya. Jika mana-mana scene dibuang tidak mencacatkan cereka anda bermakna scene-scene itu tidak diperlukan. Setiap SCENE perlu menggerakkan cereka ke arah penyudahan dan merupakan sebahagian penting menuju ke klimaks.

C. Elemen-Elemen Skrip

Scene Heading , Aksi , Nama Watak , Dialogue , Parenthetical , Extensions , Transition , Shot

Scene Heading

Tip Penulisan: Scene Headings bermula 1.5” dari sebelah kiri kertas dan lazimnya tidak panjang atau melebihi satu baris.Scene Heading ditaip dalam huruf besar. Gunakan titik selepas LUAR atau DALAM (INT. or EXT.), dan sengkang (hyphen) antara elemen-elemen lain dalamnya.Scene Heading, kadangkala dikenali sebagai Slugline, memberi maklumat kepada pembaca skrip di mana scene itu berlaku. Adakah scene berlaku di DALAM (INT.) atau di LUAR (EXT.)? Kemudian lokasi scene itu: KAMAR, RUANG TAMU, PADANG BOLA, dan sebagainya. Akhir sekali masukkan masa iaitu SIANG (DAY) atau MALAM (NIGHT)... informasi ini bukan hanya diperlukan oleh pembaca atau penlai skrip tetapi juga untuk team produksi yang merancang dan melakukan penggambaran.
Oleh demikian, Scene heading juga boleh mengandungi informasi produksi seperti CONTINUOUS ACTION, or ESTABLISHING SHOT or STOCK SHOT. Sebagai contoh:

DALAM. KAMAR - SIANG
LUAR. JALAN BUKIT BINTANG - MALAM
DALAM. PEJABAT - MALAM - CONTINUOUS ACTION
LUAR. PANTAI - SIANG - ESTABLISHING
LUAR. KUALA LUMPUR – STADIUM MERDEKA - STOCK FOOTAGE

Tip Penulisan: Software Screenwriting akan failkan secara automatik setiap Scene Heading baru yang anda guna. Anda tidak perlu menaip semula scene yang sama berulang-ulang kali. Ini juga akan menjadikan Skrip anda konsisten. Pembaca atau penilai skrip kurang berminat jika Scene Heading yang sama asyik bertukar wajah, contoh:

LUAR. – KAWASAN BUKIT BUKAU - MALAM
dan 2 muka surat kemudian:
LUAR. – KAWASAN GUNUNG GANANG - MALAM

Scene Headings yang konsisten membolehkan pemabaca, penilai skrip dan karyawan mengenali lokasi and tempat penggambaran tanpa hilang fokus kepada cerita dengan cuba meneka samada ini set baru atau tidak. Contoh:

FADE IN:

LUAR. PANTAI - SIANG - ESTABLISHING
Di sini kita sudah establish yang kita berada di pantai di waktu siang.

Aksi
Peraturan: Aksi bermula di sebelah kiri ke akhir margin di sebelah kanan.(seperti Scene Heading). Text adalah single-spacing dan menggunakan huruf besar dan kecil.Bila anda memperkenalkan watak buat pertama kali, nama watak itu perlu ditaip dalam huruf besar.AKSI atau Descripsi setkan Scene, menjelaskan setting, memperkenalkan watak atau watak-watak dan mementaskan cerita anda. Aksi ditulis dalam REAL TIME.
Tip Penulisan: Setiap detik dalam screenplay berlaku sekarang(NOW). Gunakan ayat aktif (Ali menolak basikal) bukan ayat pasif (basikal ditolak oleh Ali).Tulis dalam masa kini (PRESENT TIME), bukan masa lampau (PAST). Perenggan mesti pendek.... jangan sampai 4 atau 5 baris. Pembaca tidak akan membaca tetapi akan melihatnya sekilas pandang.

FADE IN:
LUAR. PANTAI - SIANG - ESTABLISHING
Sampan-sampan, tongkang-tongkang dan kapal-kapal layar dibuai ombak.

DALAM. KAMAR UTAMA - SIANG
Cadar dan selimut berjenama yang mahal menutup tubuh ALINA, 25, yang bogel dan sangat cantik.
Cahaya matahari menembusi tingkap kabin dan membanjiri tubuh AHMAD IDHAM, 38, yang sasa. Idham menarik selimut dan mencium tubuh Alina yang bogel itu.

Pembaca mula membayangkan setting dan aksi yang sedang berlaku. Kita tahu kita berada dalam sebuah bot, 2 watak telah diperkenalkan kepada kita. Kita boleh bayangkan wajah mereka dan kita dapat maklumat tentang hubungan mereka. Jangan ghairah untuk menulis camera angles dan shots. Tulis dalam satu baris jika anda ingin memberi emphasis kepada sesuatu shot. Angle dan shot adalah hak pengarah dan lazimnya dimasukkan ke dalam Skrip Shooting (Shooting Script).

Contoh Aksi

Cadar dan selimut berjenama yang mahal menutup tubuh ALINA, 25, yang bogel dan sangat cantik.

Cahaya matahari menembusi tingkap kabin dan membanjiri tubuh AHMAD IDHAM, 38, yang sasa.

Idham menarik selimut dan senyum ke arah tubuh Alina.

Tiba-tiba Idham tergamam.

Terdapat satu tattoo Syaitan di bahu Alina yang dia tidak dilihat sebelum ini.

Nama Watak
Peraturan: NAMA WATAK ditulis dalam huruf besar dan diindent 3.5" dari margin kiri. Sebelum watak itu bercakap, penulis perlu insert NAMA WATAK itu supaya pembaca tahu siapa yang berdialog.Nama boleh jadi nama sebenar watak (RAFFI) atau diskripsi (GEMUK), atau kerjaya (DOKTOR). Anda oleh namakan watak yang bercakap sebagai POLIS 1 atau POLIS 2, tapi pelakon lebih suka anda berikan mereka nama supaya mereka dapat menjiwai watak yang diberikan kepada mereka. Pastikan anda konsisten bila tulis nama, jangan kejap ALI, kejap POLIS 1.

Tip Software: Menaip nama terutama bila nama itu panjang akan lebih mudah jika anda menggunakan software screenwriting. Program itu secara automatik akan menfailkan dan memastikan nama-nama watak itu konsisten.

Software screenwriting juga akan menentukan jarak (spacing) yang betul dari perenggan sebelumnya. Anda tak payah pening kepala untuk memastikan jarak dan kedudukan samada betul atau tidak. Anda cuma focus kepada cerita.

FADE IN:
LUAR. PANTAI - SIANG - ESTABLISHING
Sampan-sampan, tongkang-tongkang dan kapal-kapal layar dibuai ombak.

DALAM. KAMAR UTAMA - SIANG
Cadar dan selimut berjenama yang mahal menutup tubuh ALINA, 25, yang bogel dan sangat cantik.
Cahaya matahari menembusi tingkap kabin dan membanjiri tubuh AHMAD IDHAM, 38, yang sasa. Idham menarik selimut dan mencium tubuh Alina yang bogel itu.

IDHAM
Dialogue.....

Peraturan: Margin DIALOGUE diindent 2.5" dari margin kiri. Satu baris dialogue mungkin mengandungi antara 30 hingga 35 space. Oleh demikian margin kanan adalah lebih flexible, lazimnya 2.0" to 2.5".Peraturan-peraturan DIALOGUE digunapakai apabila seorang dalam skrin bercakap, melalui dialog dengan watak atau watak-watak lain, atau bercakap sendiri... termasuk bila watak itu tidak kelihatan dalam skrin dan cuma kedengaran suaranya.
Tip Penulisan: Dialog hebat menggambarkan jiwa dan naluri seorang watak. Ia kedengaran jujur dan benar... Ia juga satu percakapan antara dua insan. Penonton seolah-olah seekor lalat yang hinggap di dinding dan mendengar permainan drama antara watak-watak itu. Dialog hebat menggunakan ayat sastera yang penuh dengan kiasan dan dramatik irony, diluahkan dengan penuh perasaan, dan bukan ayat-ayat tepat kepada maksudnya (on the nose dialog). Kadang-kala ayat atau frasa dialog menjadi budaya atau buah mulut masyarakat, contohnya dialog Clint Eastwood dalam filem Dirty Harry Callahan "Go ahead. Make my day."Untuk memastikan dialog anda hebat, anda boleh membacanya seperti berlakon. Jika anda berasa susah untuk meluahkan dialog itu bermakna dialog itu tidak hebat. Atau anda boleh anjurkan satu bacaan skrip dan mendegarnya. (Ini yang dilakukan di Hollywood dan di Broadway dengan menggunakan pelakon professional).

Tip Software: Software screenwriting boleh membaca dialog melalui sound sistem di komputer anda. Anda cuma perlu assign jantina dan infleksi kepada watak-watak anda untuk mendengar dan menilai dailog anda.

FADE IN:
LUAR. PANTAI - SIANG - ESTABLISHING
Sampan-sampan, tongkang-tongkang dan kapal-kapal layar dibuai ombak.
DALAM. KAMAR UTAMA - SIANG
Cadar dan selimut berjenama yang mahal menutup tubuh ALINA, 25, yang bogel dan sangat cantik.
Cahaya matahari menembusi tingkap kabin dan membanjiri tubuh AHMAD IDHAM, 38, yang sasa. Idham menarik selimut dan mencium tubuh Alina yang bogel itu.

IDHAM
Bangun sayang, dah tiba masa untuk sayang terbang dari sini.

Parenthetical (Kurungan)
Parenthetical diindent antara 3.0" hingga 3.5" dari margin kanan tetapi ini lazimnya flexible. Parenthetical remark tidak diletak di tengah-tengah (centre) di bawah nama watak.Parenthetical mungkin satu attitude, arahan verbal atau arahan aksi kepada pelakon yang bercakap. Parenthetical hanya pendek, tepat, deskriptif, dan digunakan jika benar-benar perlu.Kini Parenthetical tidak digemari kerana ia adalah satu arahan kepada pelakon dan mungkin tidak sesuai semasa dalam set. Kadang-kala Parenthetical dikenali sebagai "wrylies", contoh:
IDAHAM
(wryly)
bangun, sayang.

ALINA
(sleepily)
Baru pukul berapa

IDHAM
(getting out of bed)
Dah pukul 6. Nanti lewat lagi. Nak suruh abang jurus sayang dengan air

Parenthetical juga digunakan sebagai penunjuk kepada skrip (notasi), contohnya (continuing). Jika watak itu becakap diikuti pula dengan baris aksi dan kemudian balik kepada watak itu bercakap, nostasi boleh dipakai guna, contohnya:
IDHAM
(getting out of bed)
Dah pukul 6. Nanti lewat lagi. Nak suruh abang jurus sayang dengan air

Idham menarik selimut dari Alina.
Alina bangun duduk, pakai sehelai T-shirt panjang, dan bergesa ke bilik air.

IDHAM
(continuing)
Terima kasih kerana kejutkan saya bangun

Tip Software: Program screenwriting memberi anda pilihan (option) samada menggunakan parethetical atau Extension.

IDHAM
(getting out of bed)
Dah pukul 6. Nanti lewat lagi. Nak suruh abang jurus sayang dengan air

Idham menarik selimut dari Alina.
Alina bangun duduk, pakai sehelai T-shirt panjang, dan bergesa ke bilik air.

IDHAM (CONT’D)
Terima kasih kerana tolong kejutkan saya bangun

Tip Software: (CONT'D) dimasukkan secara automatik jika optionnya dipilih.
Ia menunjuk watak itu sambung bercakap semasa aksi.

Extension
O.S. - Off-Screen
V.O. - Voice Over
Extension adalah nota teknikal yang diletak di sebelah kanan nama watak dan menggambarkan bagaimana suaranya didengar oleh penonton. Suara Off-Screen boleh didengar apabila watak itu berada di luar jarak kamera, ataupun di bilik sebelah.
Idham menarik selimut dari Alina.
Alina bangun duduk, pakai sehelai T-shirt panjang, dan bergesa ke bilik air.

IDHAM (CONT’D)
Terima kasih kerana tolong kejutkan saya bangun
(beat)
Jangan pula jadi tuan puteri dalam kolam mandi! Pagi ni abang ada mesyuarat, takkan nak pi busuk-busk macam ni kot

ALINA (O.S.)
20 minit aje

Setengah penulis menggunakan O.C. (off camera) daripada O.S. "Beat" menunjukkan Idham berhenti seketika (mungkin berfikir seketika) sebelum meneruskan dialog. Satu lagi extension yang sering digunapakai ialah V.O (Voice Over). Anggaplah V.O. sebagai narration, atau watak yang bercakap tiada dalam scene. Atau watak itu ada dalam scene tetapi berperanan sebagai narrator, mengimbas kembali atau menceritakan peristiwa yang lampau. Dialogue ini dirakam dan dimasukkan semasa editing.

IDHAM (V.O.)
Tak mungkin aku dapat masuk bilik air dalam masa 45 minit, jadi aku pergi jogging dulu.

Watak kita mengimbas kembali apa yang berlaku pada pagi itu dalam satu Voice Over.

Transition

Kini ada sesetengah pihak tidak menggalakkan kegunaan transition dalam screenplay tetapi mereka tidak akan menyalahkan anda jika ada menggunakannya. Bagaimanan pula dengan ramai yang masih menggalakkan kegunaannya. Sebagai penulis skrin yang ingin menjual screenplaynya adalah lebih baik anda menggunakan transition. Jika anda dihendaki membuangnya jangan cuba berdebat. Lakukannya asalkan orang itu sanggup membeli screenplay anda.

Peraturan: Transition diindent 6.5" dari margin kiri. Transition mestilah ditaip dalam huruf besar dan berlaku selepas aksi dan sebelum Scene Headings.Transition yang lazim digunapakai:

CUT TO:
DISSOLVE TO:
SMASH CUT:
QUICK CUT:
FADE TO:
FADE OUT (tidak di hujung skrip)

Tip Penulisan: Transition adalah sebahagian dariapada penceritaan. Anda boleh gunakan TIME CUT: menunjukkan masa berlalu. Ramai penulis menggunakan DISSOLVE TO: menunjuk masa telah berlalu. Atau MATCH CUT: untuk menunjukkan apa yang kita telah menonton ada hubungan dengan apa yang kita akan lihat dalam scene baru. Jangan guna semua ini kecuali anda seorang penulis skrin yang mahir. Pengarah atau editor juga mungkin menggunakan yang berlainan. Memadai jika anda masukkan CUT TO: sahaja.

Tip Software: Kebanyakan Transitions telah pun diprogram dalam software screenwriting. Jika anda ingin menggunakan yang lain, pastikan Transition anda ditaip dengan huruf besar dan diletak di tempat yang betul.

Idham memakai seluar pendek, kemudian kasut getah sport dan exit (keluar frame atau kamar).

CUT TO:
(Peringatan, Cut To: mungkin tidak dimasukkan dalam sesetengah skrip tetapi bagaimana bila berlakunya pertukaran lokasi?)

Shot
Peraturan: Shots diformat seperti Scene Heading, di kiri margin dan dalam huruf besar, baris kosong sebelum dan selepanya. SHOT memberitahu bahawa tumpuan dalam scene itu sudah berubah. Contoh shot yang digunapakai dalam screenplay:

ANGLE ON --
EXTREME CLOSE UP --
PAN TO --
POV IDHAM --
REVERSE ANGLE --

Tip Penulisan: Anda, sebagai penulis, tidak digalakkan menulis shot dalam screenplay. Ini akan mengganggu aliran penceritaan anda. Kalau anda berminat untuk mengarah filem, jangan jadi penulis skrin. Tunggu sehingga skrip itu dibeli dan cuba negotiate satu package di mana anda diambil sebagai pengarah untuk skrip anda.
Satu shot yang lazim digunapakai dalam screenplay ialah INSERT. INSERT digunakan sebagai arahan – memberi fokus kepada sesuatu yang penting dalam cerita anda.

INSERT - RANSOM NOTE

Tip Penulisan: Satu perenggan aksi yang ditulis dengan baik dapat menyampaikan mesej yang sama tanpa mengganggu tumpuan pembaca. Aliran cerita amatlah penting dan cuba jangan masukkan gangguan. Software screenwriting yang digunapakai oleh Persatuan Penulis Skrin Malaysia adalah Final Draft dan Final Draft AV (Audio Visual).

PERINGATAN
Kalau anda menghulur senaskah screenplay anda kepada produser, pastikan dia mempunyai software screenwriting untuk membukanya.
Jika tidak anda boleh memberinya dalam format PDF
Jangan sekali-kali memberinya dalam format MS Words

Bengkel Dokumentari- Tradisi & Estetika

2009-04-28T17:57:00.000+08:00

Bengkel Lanjutan Dokumentari Anjuran FDAM

13 - 17 April 2009 di Bilik Latihan FINAS

Pengajar: En Syed Zul drp Lim Kok Wing Universiti

Banyak perkara telah dibincangkan antaranya:-

Single Line Idea, Most Difficult Audience,

Have Not Seen and Have Not Heard

Nanti kita akan bincangkan......

KELAS DI TUNDA

2009-03-27T12:27:00.000+08:00

NOTIS PEMBERITAHUAN

KURSUS PENULISAN SKRIP
YANG SEPATUTNYA DI ADAKAN PADA
28 DAN 29 MAC 2009 TERPAKSA
DI TUNDA DI ATAS SEBAB-SEBAB
YANG TAK DAPAT DI ELAKKAN.

TARIKH BARU:
18 DAN 20 APRIL 2009
DI DWN SERBAGUNA PRESINT 8,
PUTRAJAYA,
JAM: 10PG - 4PTG.
BAYARAN: RM100.00

Lokasi Penggambaran

2009-03-22T13:01:00.000+08:00

Rohizan - Penulis Skrip muda yang mula mengukir nama

Bersama Julia, 2 watak utama dlm telemovie ni, saya extra jee..

Murali - Pengarah tersohor

Abg Sham kelate, jadi penolong pengarah....

Masa shooting sutun3 dekat Muar

Shooting sutun3 kat bandar muar

Adek tengah hafal skrip

Belakang saya, kanan - make up artis

Pen. Pengarah sedang menunjuk ajar pelakon

_________________________________________

Lokasi Penggambaran

Lokasi penggambaran adalah merujuk kepada tempat di mana satu satu scene itu akan di ambil. Untuk memudahkan kita membuat skrip telemovie untuk 60scene/90minit. Saya sarankan kita tetapkan beberapa lokasi. Untuk penjimatan kos penggambaran,seeloknya kita tetapkan dalam lingkungan 10 lokasi dimana masih boleh digabungkan dan menjadi 5 lokasi utama. Bermaksud jika scene pejabat Ali dan pejabat Abu, walaupun berlainan kita masih boleh sewa satu pejabat cuma bertukar bilik sahaja dan tukar prop.

Lokasi seperti rumah ali, abu atau ani, bolehlah di survey atau dicari yang berdekatan, bermaksud sekitar 1-5km sahaja. Sebaik mungkin lokasi penggambaran ke semuanya berada dalam lingkungan 10km.

Seorang penulis skrip yang baik haruslah boleh memikirkan kesemua pemasalahan dalam penerbitan satu-satu.

FILEM PENDEK

2009-03-21T18:18:00.000+08:00

LATIHAN MINDA UNTUK PENULIS SKRIP

2009-03-21T17:25:00.000+08:00

Bersantai... Penulis: Shamsul Ambia (ambiaq@gmail.com)

Makan Malam dgn YB Tan Sri Muhyiddin Yasin di PICC

Semasa di FFM21 di PICC

Pelancaran FFM21 di Alamanda, Putrajaya

Master Class di Finas

___________________________________________________________________

LATIHAN MINDA UNTUK PENULIS SKRIP

Latihan Pertama(1)

“KISAH SEORANG JURUTERA PENCEN”

Anda di minta pergi berjumpa seorang jurutera pencen. Carilah sesiapa yang anda kenal atau dikenalkan oleh rakan anda. Buat janji temu dan cuba temuramah beliau (jurutera tersebut). Buat satu soalan lengkap dari mula kelahiran beliau sehingga hari ini. Antara soalan-soalan tersebut:-

¨ Bila tarikh kelahiran?
¨ Di mana lahir, tempat, masa?
¨ Cerita perihal keluaga, ibubapa, adik beradik dan saudaramara?
¨ Zaman kanak-kanak? Sekolah, rakan-rakan, keluaga?
¨ Zaman Remaja? Sekolah, percintaan, rakan-rakan?
¨ Zaman Belia? Kerja, perkahwinan, kerjaya?
¨ Zaman Dewasa? Anak-anak, Mertua, rakan-rakan, kerjaya?

Setiap Benda Bernyawa Mempunyai
Pentas Kehidupan Tersendiri

Anda di kehendaki mencari satu titik permulaan sehinggalah kepada pengakhirannya. Cari masalah dan cara penyelesaian dalam kisah seorang jurutera pencen. Lagi meriah jika ada tragedi yang berlaku.

Ini dipanggil sumber cerita. Sumber ini perlu bagi seorang penulis skrip.Bila pulang ke rumah, tulis kembali segala maklumat yang didapati tadi. Susun jalan ceritanya dan olah ia supaya nampak menarik. Buat dalam bentuk karangan.

Tambahkan lagi latihan seumpama ini bagi menambahkan sumber cerita.
__________________________________________________________________
Latihan Ke Dua (2)

“IMAGINASI DAN REALITI 1”

Tip mudah untuk permulaan berimiginasi:-

¨ Pejam Mata.
¨ Tarik nafas laju sedalam-dalamnya.
¨ Tahan nafas sehingga tujuh saat.
¨ Hembus perlanan-lahan.
¨ Tenangkan fikiran anda.
¨ Kosongkan Minda.
¨ Bila mata terpejam, anda nampak hitam.
¨ Bayangkan apa yang anda nampak ialah papan hitam.
¨ Cuba tulis nombor satu : 1.
¨ Tidak Berjaya—ulangi langkah dari mula.
¨ Berjaya? Cuba nombor lain pula.
¨ Dan cuba pula bayangkan watak seseorang.

Latihan secara meditasi adalah cara yang terbaik.

Anda mungkin biasa berangan-angan atau bermimpi, sekarang anda cuba jadi kemudi atau nakhoda pada mimpi dan angan-angan anda. Cuba mereka supaya mimpi dan angan-angan mengikuti rentak anda.

Kini anda dan mula merasakan imiginasi anda mula menjadi realiti dalam kotak minda anda.
___________________________________________________________________
Latihan Ke Tiga (3)

“IMAGINASI DAN REALITI 2”

Anda di minta pergi ke suatu tempat, katakan Taman KLCC, cari bangku dan duduk. Cuba perhatikan setiap orang yang lalu lalang di depan anda. Ada yang gemuk, kurus, pendek, panjang, cantik dan sebagainya. Pilih seseorang, pejamkan mata, sekarang masa untuk anda berimiginasi. Cuba bayangkan orang yang anda pilih itu, tukar cara pakaiannya, reka cara berjalannya dan bentuk karektor untuknya. Anda mungkin tersenyum atau ketawa bila boleh mencipta watak dalam minda imiginasi anda.

Tapi kawal diri anda, nanti ada yang menyangka anda sakit jiwa pulak. Kemudian teruskan mencari watak lain. Ulangi latihan ini di lain-lain tempat dengan berlainan karektor.

________________________________________________________________
Latihan Ke Empat (4)

“IMAGINASI DAN REALITI 3”

Sekarang, lihat jalan di atas, cuba anda letakkan dan corakkan apa saja daripada imiginasi anda dan buatlah satu cerita.

Contoh, anda masukkan karektor seorang ibu tua mendukung seorang bayi yang tak berbaju dan memimpin seorang lagi anaknya yang dalam lingkungan umur 4 tahun, berjantina lelaki, berbaju putih dan berseluar pendek. Mereka berjalan di sebelah kiri bahu jalan membelangkangi anda. Dan, ada sebuah kereta jenis wira sedan 1.5 berwarna biru pekat datang dari arah depan. Bayangkan.

Ok, sudah dapat menguasai latihan imaginasi. Apa yang penting di sini, imiginasi anda haruslah menjadi realiti dalam kotak minda anda.
___________________________________________________________________
Latihan Ke Lima (5)

“IMAGINASI DAN REALITI 4”

Salah satu latihan yang biasa saya buat untuk melatih kotak minda saya ialah:-

Ketika saya berada dalam satu bilik yang kosong dan berwarna putih. Saya cuba bayangkan,

1. Warna apa yang saya harus cat.
2. Perabot jenis apa yang harus di adakan.
3. Susunatur perabot dan lain-lain perhiasan.
4. Lain-lain yang tak terfikir oleh saya, tapi anda boleh fikirkannya.

Imaginasi Luar Jangkaan Anda - Satu Anugerah

Tidak menjadi salah jika anda terfikir tentang lembu masuk bilik, ini menunjukkan anda mula mempamirkan kelainan daripada orang lain. Anda hendaklah menampilkan sesuatu yang asli, inovatif, kreatif dan menarik.

Setiap Yang Bernyawa Mempunyai
Karektor Tersendiri

Saya rasa anda dan mula seronok berimiginasi. Anda kena ingat aset (harta) utama dalam menjadi seorang penulis skrip yang baik adalah daya imiginasi dan pengalaman.

Pengalaman anda, orang lain, atau dari sumber-sumber pembacaan (buku, surat khabar, majalah dan lain-lain), televisyen, radio amat bermenafaat untuk anda. Oleh itu tambahkan pengalaman anda setiap hari, setiap detik. Lagi kuat usaha anda menambah pengalaman, lagi besar ilmu dan kebolehan anda dalam berkarya.

“Tuntutlah ilmu
yang sentiasa tiada kesudahan,
lagi besar dan banyak ilmu anda,
lagi kerdil anda di sisi
Tuhan”

Kemahuan, kesungguhan dan cekal dalam menimba ilmu. Bak kata orang “bukan senang nak senang, dan bukan susah nak susah”.

Jangan malu bertanya dan berkongsi pengalaman dengan orang lain, kita kena ingat setiap orang mempunyai persepsi atau cara fikir yang berbeza. Jika anda mampu berfikir dari sudut orang lain berfikir, boleh saya katakan di sini, “anda berupaya menguasai pemikiran orang lain”. Ini satu kelebihan.

Selepas ini kita akan ke bab terpenting dalam penulisan skrip.

Tahniah dari saya.

AMBIAQ

(ambiaq@gmail.com)

PENULIS SKRIP

2009-03-15T16:41:00.000+08:00

majlis sambutan raya tv9, 2008

SEORANG PENULIS SKRIP

Apa yang perlu ada pada anda:-
1) Boleh membaca dan menulis dengan baik.
2) Sedikit pengetahuan komputer terutama untuk perisian Microsoft Word atau lain-lain perisian untuk menaip cerita. (tapi anda boleh juga mengupah orang menaip)
3) Pengalaman hidup.
4)Daya Imaginasi yang baik.
5) Kongsi dan cari pengalaman orang lain.
6) Kesungguhan dan rajin.
7) Banyak membaca.
8) Melihat cerita di kaca TV atau mendengar radio.
9) Bergaul dengan rakan sealiran.
10) Daftar atau masuk ahli badan-badan berkaitan seperti Persatuan Penulis Skrip Malaysia atau Persatuan Perkerja Filem Malaysia dan banyak lagi.
11) Baca buku panduan ini banyak kali dan buat latihan. Jika ramuan atau bahan-bahan tadi telah anda miliki atau akan miliki, kita perlu tanya pula, apakah tugas sebenar penulis skrip?

TUGAS PENULIS SKRIP

Ada orang pandang remeh terhadap penulis skrip, orang belakang tabir dan kurang popular. Tapi, tidakkah anda tahu, penulis skrip adalah seorang arkitek dalam perbikinan filem, ia merancangkan cerita, melahirkan watak-watak dan kekuatannya utama terletak pada keindahan dan cara penceritaan yang dibawanya.

Ringkasnya, seorang penulis skrip perlu:-

1)Mewujudkan satu cerita dalam bentuk skrip.
2)Merancang babak demi babak yang akan berlaku dari awal hingga akhir.
3)Watak-watak setiap babak.
4)Dialog dalam babak.
5)Waktu setiap babak berlaku.
6)Tempat babak tersebut berlaku.
7)Prop-prop yang terdapat dalam satu-satu babak.Keseinambungan babak dan pengakhiran sesuatu cerita

Twenty Basic Plots

2009-03-15T16:11:00.000+08:00

Masa Anugerah Skrin 2008 yang lepas, tahniah kpd yang menang.

Twenty Basic Plots

IDEAS, PLOTS & USING THE PREMISE SHEETS
After you generate ideas, the next step is to put them in some recognizable story form (the basic plot idea), build your central conflict (the story premise sheet), then build your character and underlying themes (the thematic premise sheet. #1 QUEST - the plot involves the Protagonist's search for a person, place or thing, tangible or intangible (but must be quantifiable, so think of this as a noun; i.e., immortality).

#2 ADVENTURE - this plot involves the Protagonist going in search of their fortune, and since fortune is never found at home, the Protagonist goes to search for it somewhere over the rainbow.
The difference is that in the quest, we are watching a person making a journey; in the adventure, our attention is on the journey. Exotic, strange, dangerous, new! A venture into the unknown, a look at the unexpected or unusual...

#3 PURSUIT - this plot literally involves hide-and-seek, one person chasing another.
The basic premise of the plot is simple: One person chases another. All you need is a cast of two: the pursuer and the pursued.Since this is a physical plot, the chase is more important than the people who take part in it

#4 RESCUE - this plot involves the Protagonist searching for someone or something, usually consisting of three main characters - the Protagonist, the Victim & the Antagonist.
The rescue plot is perhaps more formulaic than most of the other plots. It has standard characters and situations. But don't underestimate its immense appeal. Like the revenge and temptation plots, it is one of the most satisfying emotionally. It confirms the moral order of the universe by overcoming evil; it restores order in a
chaotic world; and it reaffirms the power of love

#5 ESCAPE - plot involves a Protagonist confined against their will who wants to escape (does not include some one trying to escape their personal demons). Escape plots tend to revolve around unfair imprisonment (the innocent imprisoned for a crime they did not commit; prisoners in war; witch, ogre, or other evil creatures seem to love to imprison hero(in)es), but it doesn't have to--sometimes it is a test of wills between two strong personalities--the gaoler and the jailee.

The escape plot is physical, and as such, concentrates its energy on the mechanics of capture and escape. ... Escape in this plot is literal: The protagonist is confined against her will and wants to escape.

#6 REVENGE - retaliation by Protagonist or Antagonist against the other for real or imagined injury. In literature the dominant motive for this plot is loud and clear: retaliation by the protagonist against the antagonist for realor imagined injury. It's a visceral plot, which means it reaches us at a deep emotional level. We bristle against injustice and we want to see it corrected. And almost always, the retaliation is outside the limits of the law At the heart of the story is the protagonist, who is generally a good person forced to take vengeance into her own hands when the lawwon't give satisfaction. Then there's the antagonist, the person who has committed the crime, who for some quirk in the natural progress of events has escaped punishment for his crime. Last, there's the victim,the person whom the protagonist must avenge. As a character, the victim obviously is expendable; his purpose is to arouse our sympathies, for him and for the protagonist (who has been denied love, companionship orthe like). Sometimes the victim is the protagonist himself. The more heinous the crime (rape, murder, incest), the more the protagonist is justified in seeking vengeance

#7 THE RIDDLE - plot involves the Protagonist's search for clues to find the hidden meaning of something in question that is deliberately enigmatic or ambiguous. A riddle is a deliberately enigmatic or ambiguous question." The answer should have both surprise and cleverness. This has evolved into the mystery. "A challenge to the reader to solve the problem.

Your mystery should have at its heart a paradox that begs a solution. The plot itself is physical, because it focuses on events (who, what, where, when, and why) that must be evaluated and interpreted (the same as the riddle must be interpreted). Things are not what they seem on the surface. Clues lie within the words. The answer is not obvious (which wouldn't satisfy), but the answer _is_ there. And in the best tradition of the mystery, the answer is in plain view
Clues! Not too obvious, and ambigious ones do well...avoid the red herrings, the clues that don't add up, the throw-away clues...work on clues that must be understood _correctly_. Give the reader a chance.

#8 RIVALRY - plot involves Protagonist competing for same object or goal as another person (their rival).
A principle rule of this plot is that the two adversaries should have equivalent strengths.
May be the classic struggle between good and evil, or both parties may be deserving. "The tension comes from their opposition. Whether it's a pitcher facing a batter or two politicians squaring off to run foroffice, two people cannot occupy the same space. One must win, one must lose

#9 UNDERDOG - plot involves a Protagonist competing for an object or goal that is at a great disadvantage and is faced with overwhelming odds.
In the underdog plot, the strengths aren't equally matched. The protagonist is at a disadvantage and is faced with overwhelming odds
This plot is near and dear to our hearts because it represents the ability of the one over the many, the small over the large, the weak over the powerful, the 'stupid' over the 'smart.

#10 TEMPTATION - plot involves a Protagonist that for one reason or another is induced or persuaded to do something that is unwise, wrong or immoral. To be tempted is to be induced or persuaded to do something that is either unwise, wrong or immoral
There are those of us who sometimes are attracted by things which we probably shouldn't indulge in, whether they are strictly illegal or just undesirable...yes,it is true, some of us feel tempted.

#11 METAMORPHOSIS - this plot involves the physical characteristics of the Protagonist actually changing from one form to another (reflecting their inner psychological identity). If any one plot is truly magical, metamorphosis is it. Most of the master plots are grounded in reality: They deal with situations and people whom we readily recognize because they're based in ourexperience. Even good science fiction and fantasy stories are ultimately as real in their portrayal of people and events as anything by Henry James or Jane Austen. Science Fiction author Theodore Sturgeonpointed out that a good science fiction story deals with a _human_problem and a _human_ solution. Fiction, whether it happens in Middle Earth or in a galaxy far, far away, is always about _us._ Fiction reveals truths that reality obscures
In the metamorphosis plot, the physical characteristics of the protagonist actually change from one form to another. ..." animal to human, human to beast, etc. with change that is physical and emotional. metaphor, allegory, and mixes...wolfman, vampire, beauty and the beast,etc.

Checklist

1) Is your metamorphosis the result of a curse?

2) Is the cure for the curse love?

3) Which form of love? Love of parent for child, lovers,teacher-student, love of God, etc.?

4) Is your protagonist the metamorph?

5) Does your plot show the process of transformation back to humanity?

6) Does your story show us the nature of the metamorph, emphasizing the character over the actions?

7) Is your metamorph an innately sad character?

8) Is your metamorph's life bound by rituals and prohibitions?

9) Does your metamorph want to find a way out?

10) Do you identify a way out of the predicament, a form of release?

11) Does the antagonist carry out the terms of the release?

12) Why is your protagonist barred from hurrying or explaining the events or actions which the antagonist must perform to reverse the curse? (psssst...put your protagonist to sleep, don't let them talk, do something to keep them quiet)

13) Does your first phase show the metamorph in the midst of the curse?

14) Is the beginning of the story a reasonable point leading to the resolution of the curse?

15) Does your antagonist act as the catalyst that forces the protagonist toward release?

16) Does your antagonist start as one of the intended victims and then end as the 'chosen one'?

17) Does your second phase concentrate and reveal the evolving relationship of the two?

18) Do your characters move towards each other emotionally?

19) Does your third phase fulfill the terms of the release, freeing the protagonist from the curse, either returning him to his original state or killing him?

20) Does the reader learn the reasons for the curse and the root causes?

#12 TRANSFORMATION - plot involves the process of change in the Protagonist as they journey through a stage of life that moves them from one significant character state to another. Some "standard" points of change: becoming adult; war and combat; search for identity; divorce and other family shifts; facing violence; deaths; and learning something new (remember Pygmalion?).

Checklist:

1) Does your plot of transformation deal with the process of change as the protagonist journeys through one of the many stages of life?

2) Does the plot isolate a portion of the protagonist's life that represents the period of change, moving from one significant character state to another?

3) Does the story concentrate on the nature of change and how it affects the protagonist from start to end of the experience?

4) Does the first dramatic phase relate the transforming incident that propels the protagonist into a crisis, starting the process of change?

5) Does the second dramatic phase depict the effects of the

6) transformation? Does it concentrate on the self-examination and character of the protagonist?

7) Does the third dramatic phase contain a clarifying incident representing the final stage of the transformation? Does the character understand the true nature of the experience and how it has affected him? Does true growth and understanding occur?

8) What is the price of the wisdom gained? A certain sadness?

#13 MATURATION - plot involves the Protagonist facing a problem that is part of growing up, and from dealing with it, emerging into a state of adulthood (going from innocence to experience). The maturation plot--the plot about growing up--is one of those strongly optimistic plots. There are lessons to learn, and thoselessons may be difficult, but in the end the character becomes (or will become) a better person for it

The protagonist of the maturation plot is usually a sympathetic young person whose goals are either confused or not yetquite formed. He floats on the sea of life without a rudder. He often vacillates, unsure of the proper path to take, the proper decision to make. These inabilities are usually the result of a lack of experience
in life--naivete...

This coming-of-age story is often called the _Bildungsroman_, which is German for 'education novel.' The focus of these stories is the protagonist's moral and psychological growth. Start your story wherethe protagonist has reached the point in her life at which she can be tested as an adult. She may be ready for the test, or she may be forced into it by circumstances.

Checklist:

1) Is your protagonist on the cusp of adulthood, with goals that are confused or not yet clear?

2) Does your story clearly show the readers who the character is and how s/he feels and thinks before the event occurs that begins the process of change?

3) Does your story contrast the protagonist's naive life (childhood) to

4) the reality of an unprotected life (adulthood)?

5) Does your story focus on showing the protagonist's moral and psychological growth?

6) Does the "precipitating event" clearly challenge the beliefs and understanding of the world that you have shown?

7) "Does your character reject or accept change? Perhaps both? Does she resist the lesson? How does she act?"

8) Does your story show your protagonist undergoing the process of change? Is the change realistically gradual and difficult?

9) Is your young protagonist convincing? Does she display adult values and perceptions before she has developed them?

10) Does your story try to convert someone to "instant adulthood"? Or does it use small lessons and major upheavals to reflect the long process of growing up?

11) Does your story accurately show the psychological price that this lesson demands, and how your protagonist copes with that cost?

#14 LOVE - plot involves the Protagonist overcoming the obstacles to love that keeps them from consummating (engaging in) true love.

1) Lovers Found. Present the two main characters and establish the relationship. Deep love, marriage...and disaster strikes. Kidnapping, parental moves, ex-spice, war, disease, accident, the flying fickle

2) finger of fate...

3) Lovers split. One (or both) of the two tries to find/rescue/reunite/rekindle. Usually one is active, while the other is

4) relatively passive. Setbacks, complications, and troubles ensure that the situation gets worse, not better.

5) Lovers reunited! Somehow, someway, when you least expect it—Candid Camera will bring them together! "Opportunity presents itself to the diligent, and the active lover finally finds an opening that allows her either to overcome the antagonist or [overcome] the preventative force..."

6) Checklist:

1. Do you meet the prospect of love with a major obstacle, so that while your characters obviously want it, they can't have it.

2. Do your lovers have the obstacle of being ill-met? E.g., from different social classes, backgrounds, physically mismatched?

3. Do you thwart the first attempt to solve the obstacle? Do you make sure that success doesn't come easily, and that the only way to love is dedication and persistence?

4. Do you show us that one lover is more aggressive than the other, and provide us with good reasons for the difference?

5. Did you force a happy ending when your story really is sad?

6. Did you make your main characters appealing, convincing, real people? Are their personalities and their situation unique and interesting? Do you really feel for your characters?

7. Do you develop a full range of feelings and emotions in your story? Don't focus just on the positive feelings--use some dark to bring out the light of your story.

8. Do you understand the role of sentiment and sentimentality in your story and use the right mix for the market you are aiming at?

9. "Take your lovers through the full ordeal of love. Make sure they are tested (individually and collectively) and that they finally deserve the love they seek. Love is earned; it is not a gift. Love untested is

7) not true love."

#15 FORBIDDEN LOVE - plot involves Protagonist(s) overcoming obstacles created by social mores and taboos to consummate their relationship (and sometimes finding it at too high a price to live with).

1. Social separation -- family? position? class?

2. Religious differences

3. Racial differences

4. Adultery

5. Homosexual
two lovers with feuding families... teacher and student... the ugly or grotesque and the beauty... Adultery is the most common form of "forbidden love."

Checklist:

1. Does the love go against conventions of society? Which ones? What are the explicit or implicit forces that will be exerted on the lovers?

2. Do your lovers ignore or flout social convention and follow the dictates of their hearts? Are the results disastrous?

3. Are you writing about adultery? Is the adulterer the protagonist or antagonist? What about the offended spouse?

4. Does your first dramatic phase define the relationship between the lovers and frame it in its social context? Do you clearly show the taboos that they have broken? Do they have trouble accepting that they have broken the taboos? How do people around them react to the broken taboos? Are the lovers trying to ignore the problems or are theydealing with the reality of their situation?

5. Does the second phase clearly show the development of the relationship? Do you show the love, and the social/psychological pressures? Is there dissolution, denial, or what?

6. Does your third phase bring the lovers to the end of their relationship and play out the moral imperatives? Do you separate (andpunish) your lovers through death, force, desertion, etc.?

#16 SACRIFICE - plot involves the Protagonist taking action(s) that is motivated by a higher purpose (concept) such as love, honor, charity or for the sake of humanity.

1. Fulfilling a duty

2. Seeking to protect another

3. Wanting to be the best

4. Gaining redemption

5. Paying a debt

6. Gaining power

Checklist:

1. Does your story show the great personal cost of the sacrifice? Is your protagonist playing for high stakes, either physical or mental?

2. Does your protagonist undergo a major transformation during the course of the story, moving from a lower moral state to a higher one?

3. Do the events force the protagonist to make a decision?

4. Is there an adequate foundation of character so that the reader understands his progress on the path to making the sacrifice?

5. Do all events in the story reflect the main character? Do they test and develop character?

6. Does the story show clearly the motivation of your protagonist so that the reader understands why he would make that kind of sacrifice?

7. Does the line of action show through the line of your character's thought?

8. Does the story have a strong moral dilemma at its center?

#17 DISCOVERY - plot that is the most character-centered of all, involves the Protagonist having to overcome an upheavel(s) in their life, and thereby discovering something important (and buried) within them a better understanding of life (i.e., better appreciation of their life, a clearer purpose in their life, etc.)

Checklist:

1. Does your story focus on the character making the discovery, not the discovery itself? Does it show understanding of human nature?

2. Does your plot give us an understanding of who the main character(s)are _before_ circumstances change and force the character into new situations?

3. Does your story start as late as possible, with the character on the very cusp of change?

4. Is the catalyst that forces the change significant and interesting enough to hold the reader's attention?

5. Does your story move the character into crisis (the clash between the new and the old) as quickly as possible?

6. Does your story maintain a sense of proportion? Are action and emotion balanced and believable? Are the "revelations" of the character in proportion with the events?

7. Do you exaggerate emotions or actions to "force" emotions from the character? Avoid this melodramatic lure...

8. Do you preach or force the character to carry messages for you, the author? Or do you let the characters and their ircumstances show the reader whatever they will, with the readers drawing their own conclusions about the story? (My gloss: could you imagine several readers having a long discussion about the "moral" of your story, eachasserting what they got--and none quite sure that the others weren't just as accurate?)

#18 WRETCHED EXCESS - plot involves a Protagonist who, either by choice or by accident, pushes the limits of acceptable behavior to the extreme and is forced to deal with the consequences (generally deals with the psychological decline of the character). The wretched excess plot is about people who have lost the veneer of civilization either because they are mentally unbalanced orbecause they have been trapped by circumstances that made them behave differently than they would under 'normal' circumstances
The scary thing about wretched excess is that it can happen to anyone under any circumstances. It doesn't just happen to people who are on the edge; it can happen suddenly to people who seem to be the rock of respectability. It doesn't really take much to unravel someone.

Checklist:

1. Does your story show us the psychological decline of a character?

2. Is the decline of the character firmly based on a character flaw? What is it?

3. Does the story show the three phases of the decline: before events force a change; during successive deterioration; and at/after the crisis, with the flaw overcoming (in tragedy) or with heroic recovery?

4. Do you develop the character fully enough so that the decline evokes sympathy? Do you let the reader know what the character really feels, giving us enough information early enough?

5. Have you spent extra effort on developing the character, making sure that he will be real to the reader and worthy of their feelings for him?

6. Do you avoid melodrama? Make sure the emotion(s) you are trying to evoke are matched to the scene.

7. Are you straightforward with information that allows the reader to understand your main character? Did you hide something that would help your reader empathize with the character?

8. Have you scaled the crimes to match the reader's understanding of who and what the main character is?

9. Does your crisis get resolved? Does the character move toward complete destruction or redemption?

10. Does the action in the plot relate directly to character? Do "things happen _because_ your main character does (or does not) do certain things"?

11. Do you understand (through personal experience or research) the excess you are writing about? Make sure that what you show the character doing is realistic for someone suffering from this excess or madness.

#19 ASCENSION - rags-to-riches plot deals with the rise (success) of Protagonist due to a dominating character trait that helps them to succeed.

#20 DECENSION - riches-to-rags plot deals with the fall (destruction) of Protagonist due to dominating character trait that eventually destroys their success. (Note: Sometimes #19 & #20 are combined into rags-to-riches-to-rags (or vice versa) of a Protagonist who does (or doesn't) learn to deal with their dominating character trait.) Real_ drama, they've been telling us, is a story about a person who falls from a high place because of a tragic flaw in character. These days there aren't a lot of kings and queens to choose from, but still we have a fascination for stories about people who fall from high places." We have an equal fascination with people who rise from humble beginnings to great prominence, the so-called rags-to-richesscenario...

Checklist:

1. Is the focus of the story about a single character?

2. Is the character strong-willed, charismatic and seemingly unique?

3. Do the other characters "revolve" around this one?

4. Is there a moral dilemma at the heart of your story? Does the dilemma test the character of your protagonist/antagonist, and is it the foundation for the catalyst of change in their character?

5. Are character and events closely related in your story? Does the main character make things happen? Is she the force that drives events, instead of being driven? (There may be events that affect the main character, but the main focus must be on how the character acts upon the world)

6. Does your story show your character as she was _before_ the major change that alters her life? Do you show us bases for comparison?

7. Does the story show the character progressing through changes as theresult of events? Do you show us the character suffering horrible circumstances, and then overcoming those circumstances--and show us how that looks? Do you show us various states of the character, withmotivations and intents?

8. Does your story show us that reasons for a fall are the result of the character, not gratuitous? And if the character overcomesadversity, make sure you provided solid character-based background for that ability...

9. Do you have some variations in the rise or fall? Vary the tempo, do two steps forward and one back, then one down and two up...keep the reader guessing!

10. Does your story focus on the main character? Do all the events andcharacters relate to the main character? Do you show us that main character before, during, and after the change?

Kursus Asas Penulisan Skrip TV

2009-03-15T11:06:00.001+08:00

Salam,

KURSUS ASAS
PENULISAN SKRIP TV
PADA 28HB DAN 29HB MAC 2009
JAM 10.00 PAGI HINGGA 4.00 PETANG
DI DEWAN SERBAGUNA PRESINT 8, PUTRAJAYA
BAYARAN RM100.00
HUBUNGI: AMBIAQ 013-635 3333

Sasaran:
Terbuka kepada semua yang berminat
terutama yang belum pernah menulis skrip TV.

Objektif:
Objektif utama bagi melahirkan usahawan dalam
bidang penulisan skrip TV, terutama bagi yang
berminat untuk mendapat pendapatan luar/tambahan.
Senaskah skrip lengkap kini berharga sekitar RM500
hingga RM20,000.00.

Modul Kursus:
Merangkumi Asas menjadi seorang penulis skrip TV,
Tugas Penulis Skrip, Imiginasi dan Realiti, Sinopsis,
Treatment, Rangka Skrip, Konsep Skrip, Plot, Sub-Plot,
Watak, Babak, Lokasi, Props, Shot dan bengkel amali
membuat cerita pendek (short movie) menggunakan
perisian Final Draf7, bagi membolehkan peserta terus
dapat membuat skrip secara professional dan terbukti
pada kursus-kursus yang lalu.

Secara keseluruhan modul tersebut simple dan mudah
difahami dan di ajar secara kaedah santai dan 2 hala.
Peserta dikehendaki membawa lap-top sendiri jika ada
untuk mecepatkan lagi proses pembelajaran dan pemahaman.
Kebiasaannya setiap peserta mampu menyediakan
satu naskah skrip untuk tayangan 30min-60min.

Contoh-contoh skrip daripada luar dan dalam negara
akan diberikan kepada Peserta. Dan satu salinan buku
asas penulisan skrip yang ditulis oleh Pena Mentari juga
akan diberikan kepada peserta.

Susulan
1) Kursus Pengukuhan Cerita, 3 hari hanya RM100.00
2) Akan dipelawa menyertai beberapa pertandingan
Penulisan Skrip TV.
3) Kursus Pitching/ Persembahan Cerita, 2 hari (RM100)
Kebiasaannya ada penerbit atau penyiar TV akan dtg.
4) Geran-geran/pinjaman yang ada untuk membuat filem.
5) Secara automatik menjadi kumpulan penulisan kami
Antara faedahnya, kami akan menolong memasarkan
skrip-skrip yang baik dan bermutu.

TEMPAT TERHAD
HARAP SEBARKAN
TERIMA KASIH