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A cut to and a dissolve to are essentially editing choices. Even if you as the writer put them into the script, it's only the edits in your head- they shouldn't matter a whit to an investor who knows anything.
But, to answer your question as best I can: A CUT is a quick edit with no effect other than a change in shot. A DISSOLVE is an after effect in which you dissolve one shot to resolve to another. The major impact on the film between the two is largely that a dissolve tends to signal a change of place or a passage of time.
Again though, they are stylistic choices with regard to writing. I would wonder why a buyer would care at all about them.
But, to answer your question as best I can: A CUT is a quick edit with no effect other than a change in shot. A DISSOLVE is an after effect in which you dissolve one shot to resolve to another. The major impact on the film between the two is largely that a dissolve tends to signal a change of place or a passage of time.
Again though, they are stylistic choices with regard to writing. I would wonder why a buyer would care at all about them.
A producer who thinks the format needs to be improved by throwing in "dissolve to", instead of just "cut to" smells fishy to me, too. As Christine mentioned, those transitions don't belong in a properly formatted script at all. And your question is one of the reasons why - the writer doesn't need to know editing terms to write a good story.
Congrats on getting interest in a sale. If the only suggestion the producer has to improve your script is to add "Dissolve to" here and there, then you are in a good place. Ask the producer how much he's going to pay for your script and if it's a price you like, then ask him exactly where he wants to see a dissolve in the script and do it.
Congrats on getting interest in a sale. If the only suggestion the producer has to improve your script is to add "Dissolve to" here and there, then you are in a good place. Ask the producer how much he's going to pay for your script and if it's a price you like, then ask him exactly where he wants to see a dissolve in the script and do it.
The difference...
A CUT TO: normally shows passage of real time while a DISSOLVE TO: is used to show that some time has passed since the last scene...
Having said that...
In a SPEC script, a CUT TO: is never even used anymore... You simply go from one slug line to the next. A DISSOLVE TO: however, is used from time to time simply to show that some time has passed from the last scene to the one you're now reading...
So technically, unless you're writing a shooting script, you shouldn't have ANY CUT TO:s at all and only those DISSOLVE TO:s that you need to show that some time has passed...
The reason you do it this way is because in your SLUG lines, it is no longer the norm to put in any time qualifer after the location SLUG... i.e., CONTINUOUS, MAGIC HOUR, etc.
Good luck with it!
filmy
The difference in a SPEC script is just this...afac81a said:Directors-Producers-Writers
Can someone tell me the difference between CUT TO: and DISSOLVE TO:???
I have an interest to purchase on one of my scripts, and the producer wants me to format better. (throw dissolve to in, instead of just cut to)
Please answer here!
THANK YOU!
afac81a
A CUT TO: normally shows passage of real time while a DISSOLVE TO: is used to show that some time has passed since the last scene...
Having said that...
In a SPEC script, a CUT TO: is never even used anymore... You simply go from one slug line to the next. A DISSOLVE TO: however, is used from time to time simply to show that some time has passed from the last scene to the one you're now reading...
So technically, unless you're writing a shooting script, you shouldn't have ANY CUT TO:s at all and only those DISSOLVE TO:s that you need to show that some time has passed...
The reason you do it this way is because in your SLUG lines, it is no longer the norm to put in any time qualifer after the location SLUG... i.e., CONTINUOUS, MAGIC HOUR, etc.
Good luck with it!
filmy
Question...
I was on a couple of web pages and noticed that alot of people are not even using CUT TO: or DISSOLVE TO: they are just putting CONTINUED on the bottom of the page. Should I just delete all of the cut to's and dissolve to's and just put continued on the bottom of the page?
I was on a couple of web pages and noticed that alot of people are not even using CUT TO: or DISSOLVE TO: they are just putting CONTINUED on the bottom of the page. Should I just delete all of the cut to's and dissolve to's and just put continued on the bottom of the page?
I think what people are saying is that the person that's making you change the script may not be legit.
Me, personally, I put the CUT TO:, the CU, MS, WS, etc in my scripts just because I'm going to shoot it and edit it. It's what I SEE when I'm writing it. However a script you're selling should tell the director or editor what to do. They will make it as they seem fit. Leaving out the cuts and CU's allows the director and editor creativeness. I'm no expert but that's what I've been told on one of my scripts.
And "continued" at the bottom of the page? LOL... I've never seen that. Do you see continued on the bottom of every page in a book?
If you're talking about the last page in a script where the text is supposed to appear on the screen, then yes it should be in the script, but then again that's not letting the director or editor to use their creativeness.
To put it bluntly: No.
In reading... in any culture... it's plain to see that when the page is at its end, and there's a page behind it, that you just turn the page and continue reading.
Just make sure you NUMBER your pages. If there's 120 pages of a script and it gets blown around, how will they know which order to put them in if it just said continued instead of a page number?
Me, personally, I put the CUT TO:, the CU, MS, WS, etc in my scripts just because I'm going to shoot it and edit it. It's what I SEE when I'm writing it. However a script you're selling should tell the director or editor what to do. They will make it as they seem fit. Leaving out the cuts and CU's allows the director and editor creativeness. I'm no expert but that's what I've been told on one of my scripts.
And "continued" at the bottom of the page? LOL... I've never seen that. Do you see continued on the bottom of every page in a book?
If you're talking about the last page in a script where the text is supposed to appear on the screen, then yes it should be in the script, but then again that's not letting the director or editor to use their creativeness.
To put it bluntly: No.
In reading... in any culture... it's plain to see that when the page is at its end, and there's a page behind it, that you just turn the page and continue reading.
Just make sure you NUMBER your pages. If there's 120 pages of a script and it gets blown around, how will they know which order to put them in if it just said continued instead of a page number?
OK there are a couple of points here.
1)
This appears in dialogue that crosses over onto the next page. It's a natural function of Final Draft script formating software. It used to indicate to an actor that their part continues over onto the next page.
2) Filmy's right in his outline of the use of CUT TO and DISSOLVE in scripts. However, it's unlikely that anyone is going to reject a script just on that basis. I, for instance, always right CUT TO at the end of a scene and often use it to break up parts of a scene into distinct sections. Technically as a writer I shouldn't do this, but I don't care that much; the director and editor are adults they can choose to ignore the way I break up the scene if they can see a better way of doing it. However in the first place I'm writing for the producer and I figure the easier I make it for them to visualise the film the better. From the screenplays that I've read recently, most established writers bend and break these rules everyday. As far as I can tell, the only rule really is to tell your story in a way that can be understood.
3) My guess is that you've written a script and a producer is showing interest, but your script isn't laid out the way the industry expects. The easist way to solve this problem is buy some script writing software and transfer your script into it. Final Draft is the industry standard, but you'll find lots of threads in this forum about cheaper alternatives.
My final piece of advice is to tread carefully with the producer who is interested in your idea. From the information you've given us it doesn't seem like s/he's that on the ball. If I was given a spec script that I liked, but it was badly formatted I'd at least point the writer in the right direction. It could be that this person isn't as knowledgable as they might at first seem.
Now is probably also a good time for you to look into the finer point of copyright protection, because if you haven't formatted your script properly I'd bet good money that you also haven't copyright protected your script.
1)
This appears in dialogue that crosses over onto the next page. It's a natural function of Final Draft script formating software. It used to indicate to an actor that their part continues over onto the next page.
2) Filmy's right in his outline of the use of CUT TO and DISSOLVE in scripts. However, it's unlikely that anyone is going to reject a script just on that basis. I, for instance, always right CUT TO at the end of a scene and often use it to break up parts of a scene into distinct sections. Technically as a writer I shouldn't do this, but I don't care that much; the director and editor are adults they can choose to ignore the way I break up the scene if they can see a better way of doing it. However in the first place I'm writing for the producer and I figure the easier I make it for them to visualise the film the better. From the screenplays that I've read recently, most established writers bend and break these rules everyday. As far as I can tell, the only rule really is to tell your story in a way that can be understood.
3) My guess is that you've written a script and a producer is showing interest, but your script isn't laid out the way the industry expects. The easist way to solve this problem is buy some script writing software and transfer your script into it. Final Draft is the industry standard, but you'll find lots of threads in this forum about cheaper alternatives.
My final piece of advice is to tread carefully with the producer who is interested in your idea. From the information you've given us it doesn't seem like s/he's that on the ball. If I was given a spec script that I liked, but it was badly formatted I'd at least point the writer in the right direction. It could be that this person isn't as knowledgable as they might at first seem.
Now is probably also a good time for you to look into the finer point of copyright protection, because if you haven't formatted your script properly I'd bet good money that you also haven't copyright protected your script.
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clive - it’s not really about the director and editor being adults, it’s about making the script easier to read and break down. An experienced UPM can estimate the running time easier when it’s in the proper format. “Cut to” extends the page count and is a redundant clutter on the page.
You’re right that established writers don’t need to follow the rules and you are right that “CUT TO” and other camera, directing and editing notes in a script won’t cause a reader to “pass”.
But the competition is stiff as hell and every little bit of professionalism can help. Readers cover 10 and more scripts a week - the easier the script is to read, the more the writer emphasizes the story over the directing, camera and editing, the more a reader enjoys the experience. And the more the reader enjoys reading your script....
“Continued” is only used in a shooting script. When the shooting script is sent to the department heads to do their budget, “continued” makes it easier. For example: the prop master is flipping through the script looking for props needed and sees a page with a handgun - all she has to do is look to the top of the page where she will see (16 - Continued) and know immediately that the gun is needed in scene 16. While the script is being read on it’s way to development, this information isn’t needed. And it’s a distraction to the reader.
I covered scripts for many years. An uncluttered script, without all the visual notations and “shooting script” left overs is a much better read. It’s really great to cover a script that is visual, but doesn’t pull you out of the story with “cinematic” pointers.
You’re right that established writers don’t need to follow the rules and you are right that “CUT TO” and other camera, directing and editing notes in a script won’t cause a reader to “pass”.
But the competition is stiff as hell and every little bit of professionalism can help. Readers cover 10 and more scripts a week - the easier the script is to read, the more the writer emphasizes the story over the directing, camera and editing, the more a reader enjoys the experience. And the more the reader enjoys reading your script....
“Continued” is only used in a shooting script. When the shooting script is sent to the department heads to do their budget, “continued” makes it easier. For example: the prop master is flipping through the script looking for props needed and sees a page with a handgun - all she has to do is look to the top of the page where she will see (16 - Continued) and know immediately that the gun is needed in scene 16. While the script is being read on it’s way to development, this information isn’t needed. And it’s a distraction to the reader.
I covered scripts for many years. An uncluttered script, without all the visual notations and “shooting script” left overs is a much better read. It’s really great to cover a script that is visual, but doesn’t pull you out of the story with “cinematic” pointers.
Thanks rik, I stand corrected. 
Maybe my scripts are difficult to read, cluttered and unprofessional.
That's what happens if you always direct what you write.
However, here's a site people struggling with formatting for scripts might find useful/interesting.
http://breakingin.net/format_tutorial.htm
I hate being wrong about stuff
Maybe my scripts are difficult to read, cluttered and unprofessional.
That's what happens if you always direct what you write.However, here's a site people struggling with formatting for scripts might find useful/interesting.
http://breakingin.net/format_tutorial.htm
I hate being wrong about stuff
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No CONTINUEDs...
Having said that...
If your script is a SPEC, I would take out ALL the CUT TO:s and ALL the CONTINUEDs and only sparingly use DISSOLVE TO: when you want to show a SIGNIFICANT passage of time...
As clive says however, if the script IS THAT GOOD, NOBODY is going to be worried about formatting unless of course all your formatting is off i.e., wrong font, wrong use of slug lines, etc...
If however, the only problem is the use of CUT TO:s and DISSOLVE TO:s, this really isn't a problem at all and no producer that I know would simply want these taken out... They wouldn't even be worried about them if the rest of the script is outstanding...
If there are too many CUT TO:s, it would be a simple task to figure out how much time they are adding to your script but in normal circumstances, you just don't use them except in the shooting script which, the original screenwriter rarely writes anyway... Once the script is sold, it's going to go through rewrites which the original screenwriter may or may not do... From there, once the final rewrite is completed and accepted, the script is going to be broken down and turned into a shooting script... Again, most original screenwriters do not perform this function...
filmy
Again, you'll only see the use of CONTINUEDs (proper use that is) on a shooting script... I really can't tell from your posts and what you say the interested party has told you about formatting whether he's legit or not... If he's some kind of producer (even low level), it would make sense that he would want the screenplay formatted correctly before passing it on ASSUMING that your formatting is a mess.afac81a said:I was on a couple of web pages and noticed that alot of people are not even using CUT TO: or DISSOLVE TO: they are just putting CONTINUED on the bottom of the page. Should I just delete all of the cut to's and dissolve to's and just put continued on the bottom of the page?
Having said that...
If your script is a SPEC, I would take out ALL the CUT TO:s and ALL the CONTINUEDs and only sparingly use DISSOLVE TO: when you want to show a SIGNIFICANT passage of time...
As clive says however, if the script IS THAT GOOD, NOBODY is going to be worried about formatting unless of course all your formatting is off i.e., wrong font, wrong use of slug lines, etc...
If however, the only problem is the use of CUT TO:s and DISSOLVE TO:s, this really isn't a problem at all and no producer that I know would simply want these taken out... They wouldn't even be worried about them if the rest of the script is outstanding...
If there are too many CUT TO:s, it would be a simple task to figure out how much time they are adding to your script but in normal circumstances, you just don't use them except in the shooting script which, the original screenwriter rarely writes anyway... Once the script is sold, it's going to go through rewrites which the original screenwriter may or may not do... From there, once the final rewrite is completed and accepted, the script is going to be broken down and turned into a shooting script... Again, most original screenwriters do not perform this function...
filmy
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Alright....think I got ya's. I think that I'm going to just take out all of the CUT TO'S, DISSOLVE TO'S, AND CONTINUED. Is that the right thing to do?
Oh...Should I have sent this producer a screenplay release agreement?
I haven't heard from him in three days. He said that he was going to check on the budget and get back to me.
Oh...Should I have sent this producer a screenplay release agreement?
I haven't heard from him in three days. He said that he was going to check on the budget and get back to me.
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Not unprofessional, but I have found your script to be a difficult read. I keep getting yanked out of the story. Interesting site you linked to. I had never seen it.clive said:
I think we've definitely covered this haven't we? If this is a SPEC script, go ahead and take out the CUT TO:s and CONTINUEDs and, unless the DISSOLVE TO:s specifically show a significant passage of time, you can cut those out as well...afac81a said:Alright....think I got ya's. I think that I'm going to just take out all of the CUT TO'S, DISSOLVE TO'S, AND CONTINUED. Is that the right thing to do?
Oh...Should I have sent this producer a screenplay release agreement?
I haven't heard from him in three days. He said that he was going to check on the budget and get back to me.
Having said that...
If your GUT tells you to leave in any specific CUT TO: or DISSOLVE TO: --maybe there's a reason for that. If so, take another look at that scene to see if it's really necessary... I know screenwriters that put in all the transitions they want because FOR THEM, it allows them to write easier with a specific vision... When the final draft is complete however, they go back and take out all but the most significant and necessary transitions that really help progress the story...
In other words... There are no specific rules... I know A-List screenwriters that leave all the CONTINUEDs and transitions in the script but they can do that because they've already got a reputation, agent, projects in development, etc...
Normally, an unproduced screenwriter would never have any of that in a spec that they want to market... As rik says, it makes for a much harder read and Geez... You're already in a numbers game... Why give ANYONE an actual reason to toss your script in the shitcan?
Again, leave only those transitions that specifically and significantly progress the story...
Hope that helps...
Good luck!
filmy
Based on what we've been talking about here I went back and took all the editorial transistions out, except in five places where the transitions were absolutely vital to the script making sense. I was shocked at how many pages it took off the script and how it made no difference to how the script read. The transistions were adding nothing.
It's a hard habit for me to unlearn as it was drilled into me to do the opposite by the person who first showed me how to format a script.
Yeah I thought there were some interesting articles on there and the one on formatting was very even handed.
Clive,
I'm finding a Big difference in my scripts as well. The person who taught me, told me to Always put in Cut to's, Dissolve to's, and Continued. They also said put in:
(example)
MARY
(Towards Scott)
How was your day, honey?
SCOTT
(Towards Mary)
Oh, my day went swell'.
MARY
(Towards Scott)
I made some spegetti. It's on the stove. Would you like some?
SCOTT
(With a smile)
Sure.
Oh my gosh---that screwed me up bigtime! I asked, why put all of that in if their are only two or even three people in the room? She said that it was easier for the actors to read. Well...I think that the actors & actresses are smart enough to figure it out.
Again, I can see a Big difference in my scripts since I got ahold of the formating. And--Thank God for the helpfrom people from here!
I'm finding a Big difference in my scripts as well. The person who taught me, told me to Always put in Cut to's, Dissolve to's, and Continued. They also said put in:
(example)
MARY
(Towards Scott)
How was your day, honey?
SCOTT
(Towards Mary)
Oh, my day went swell'.
MARY
(Towards Scott)
I made some spegetti. It's on the stove. Would you like some?
SCOTT
(With a smile)
Sure.
Oh my gosh---that screwed me up bigtime! I asked, why put all of that in if their are only two or even three people in the room? She said that it was easier for the actors to read. Well...I think that the actors & actresses are smart enough to figure it out.
Again, I can see a Big difference in my scripts since I got ahold of the formating. And--Thank God for the helpfrom people from here!
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Yes, the actors are actors and they need to use their craft. If you're the director, you direct them to what you want them to do, BUT let them do it their way. It's more fluid for them and let's their intermretation of the character come through.
I saw the Actors Studio with Tom Cruise a week ago. One thing that he said he does is create a background for every character he plays. I never thought of that from the standpoint of an actor before. I guess I'll discuss that on another thread.
I saw the Actors Studio with Tom Cruise a week ago. One thing that he said he does is create a background for every character he plays. I never thought of that from the standpoint of an actor before. I guess I'll discuss that on another thread.
If you are looking at books on acting you'll need to read wider than just method acting.
This is what I suggest:
David Mamets - True and False (An almost anti-method book that's popular with lots of actors)
Stanislavski - An Actor Prepares
This is where the method started and it's the one book that you can guarantee that any trained actor at least owns, even if they've never read it.
And finally
Mel Churcher - Acting for film, Truth 24 frames per second (probably the best book on film acting a newbie writer director can read)
This is what I suggest:
David Mamets - True and False (An almost anti-method book that's popular with lots of actors)
Stanislavski - An Actor Prepares
This is where the method started and it's the one book that you can guarantee that any trained actor at least owns, even if they've never read it.
And finally
Mel Churcher - Acting for film, Truth 24 frames per second (probably the best book on film acting a newbie writer director can read)