I think the key way to think about it is terms of - is it in the same ROOM at the same or continous time.
Cut to? Page 2
Interesting points.
I hate to 'do a Rafa' and get out my Champions League trophy from the cabinet...but in my capacity as someone who works professionally and quite specifically in this area, the scene in question would be a CUT TO:
However, I accept that different production companies (or indeed different people within the same production company) might approach it differently.
What specifically do you do?
Nice example by the way Perry.
I'm a storyliner.
Seriously though, what people want is something that is clear and readable. Putting pan to instead of cut to, or neither, would not affect your chances. Tonnes and tonnes of technical errors would be off-putting, and could piss off certain people - but the odd thing like this wouldnt matter.
When you storyline an episode MTC, and a scene is set in the Queen Vic or The Rovers or the Woolpack, or whichever soap it is you work on, and there are multiple story strands. You would storyline the strands separately - but the writer would combine the different strands together in different scenes would they not? Or do you scene by scene the entire episode for the writer? Either way a lot of scenes in communal areas would have different stories happening in them.
Quote: manchester's trendy chorlton @ May 6 2008, 2:50 PM BSTInteresting points.
I hate to 'do a Rafa' and get out my Champions League trophy from the cabinet...but in my capacity as someone who works professionally and quite specifically in this area, the scene in question would be a CUT TO:
However, I accept that different production companies (or indeed different people within the same production company) might approach it differently.
It would probably be a CUT TO or equivalent by the time the script was a PRODUCTION SCRIPT, but it is not needed in a writer's SUBMISSION SCRIPT.
Camera and camera angles changes take place all the time, it's not the writers job to specify them.
Foe example in a single camera shooting (a film script) almost all discussion between two people is usually filmed 3 times, once over the shoulder of person A, once over the shoulder of person B and once from the side showing both. It would be ludicrous for the writer to put all those in. The post production editor decides which of the three shots to use.
In 3 camera shooting, (typical sitcom with live audience) the cuts are carefully worked out during the rehearsals, esprcially the dress rehearsal, but the indicators of the camera changes only appear in the final shooting script. Also they are not CUT TO anyway they are things like "CAM 3 CU fred" with a line pointing to the exact word in the script which the camera man is to use as a Cue.
Hmm, basically - it depends. But...
On our show, we would storyline the episode in blocks. the writer chooses how to cut between the scenes in each block (unless specifically instructed by 'someone important').
But yes, scenes do occur in communal areas. Sometimes the writer will cut to a scene outside of the communal area and come back in (favoured). But when it needs to stay in the same communal area, it would be a cut to: there are several distinct sections of the communal area - so in this sense, they are all different locations.
I'm betting on Hollyoaks.
The only reason I need to point out that it's a nes wxcene is so theat it is clear that the new group of people at this point are not intersacting with the first group of people, if that makes sence.
One of the first group says, "Look what the cat dragged in.", and then we cut to them by the bar.
I could post some of the scene to give a better idea, but it's on my flash drive but i'm at work now, and I left it at home.
Personally I'd use cut to. It's a different location within a location... Or something... (I'd just use cut to anyway.)
[quote
One of the first group says, "Look what the cat dragged in.", and then we cut to them by the bar.
[/quote]
Absolutely don't use CUT TO: here Andrew.
Just say she looks across to the bar where X and Y etc are doing whatever is they they are doing. Presumably fighting off the large cat.
TO CUT OR NOT CUT TO, now that seems be the question
Quote: manchester's trendy chorlton @ May 6 2008, 3:09 PM BSTHmm, basically - it depends. But...
On our show, we would storyline the episode in blocks. the writer chooses how to cut between the scenes in each block (unless specifically instructed by 'someone important').
But yes, scenes do occur in communal areas. Sometimes the writer will cut to a scene outside of the communal area and come back in (favoured). But when it needs to stay in the same communal area, it would be a cut to: there are several distinct sections of the communal area - so in this sense, they are all different locations.
So what you're saying is that on the final shooting script there would be an instruction saying CUT TO: [BAR AREA]. Obviously that's true, or the cameras wouldn't know where to point and when.
But the question is does the writer include these specifications in the first instance, or are they added later where the director wants them? I can only speak from my experience but I've always been told to absolutely not include camera directions unless it's imperative to the story.
Perry... you are right.
CUT TO: Means a new scene. What he is wanting to convey is a POV shot within the same scene.
So CUT TO: is a no no here.
Quote: billwill @ May 6 2008, 3:09 PM BSTIt would probably be a CUT TO or equivalent by the time the script was a PRODUCTION SCRIPT, but it is not needed in a writer's SUBMISSION SCRIPT.
Camera and camera angles changes take place all the time, it's not the writers job to specify them.
Foe example in a single camera shooting (a film script) almost all discussion between two people is usually filmed 3 times, once over the shoulder of person A, once over the shoulder of person B and once from the side showing both. It would be ludicrous for the writer to put all those in. The post production editor decides which of the three shots to use.
In 3 camera shooting, (typical sitcom with live audience) the cuts are carefully worked out during the rehearsals, esprcially the dress rehearsal, but the indicators of the camera changes only appear in the final shooting script. Also they are not CUT TO anyway they are things like "CAM 3 CU fred" with a line pointing to the exact word in the script which the camera man is to use as a Cue.
What Bill said.
By the way, CUT TO is an editing instruction. It means an edit without a transition. A transition is usually expressed by MIX TO. It's then up to the director and off-line editor to decide what transition - fade, wipe, flip, peel, etc. A scene has to end with an editing instruction but it doesn't have to be CUT TO.