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format Scene transition

Quick question on formatting. I have a screenplay which involves a number of dream sequences where there is either an immediate or gradual (merging images) transition from one location to another. What is the best way to describe this in a spec screenplay?

I've read previously that you shouldn't use CUT TO: and DISSOLVE TO: instructions in spec scripts but should instead just describe the transition. I've tried to do that but I'm just not happy with the way it's reading. Any suggestions?
 
Rewrite or re-order the scenes
Perhaps I didn't explain very well what I meant. If you imagine within a dream, you can be doing something and in the next moment you seemlessly find yourself in a completely different location and possibly doing something different. What I'm trying to figure is how best to describe that in a screenplay format.

Its easier if you are writing in a novel format I suppose as you can make it vague but since in a screenplay you have to insert a new slugline to denote the new location, something has to precede it to describe that transition. For example: " the scenery changes around him", which sounds rather lame to me. Just wondering if anyone has any better ideas of how to explain that kind of merging from one scene to the next?
 
Yes, there is usually no need to write cutout or fade, or dissolve. Transitions are taken care by editors, camera crew and directors.

Your job is clearly write the boundaries between scenes, even if they gradually merge or mix.

Something like that

INT. CAFE. AFTERNOON

John orders a coffee and falls asleep. Environment around him gradually changes into a night forest.

EXT. DREAM FOREST, NIGHT

John wakes up at a place, which looks like a dark forest, unknown location. Cafe is gone and John is surrounded by trees under moonlight.

JOHN
What the f? Where I am? Waiter?? Waiter??? (echo)​
 
I think it's great for a writer to put thought into transitions!
If you want to create transitions from a spec script you can do this very tactfully with match cuts

it sounds like that is along the line of what you're talking about?

for example
If you end a scene with one character running and begin the next scene with a character running that is designed by the writer to be a match cut.

ultimately that choice is up to the director and you dont want to actually direct from a spec script. just imply imo
 
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INT. CAFE. AFTERNOON

John orders a coffee and falls asleep. Environment around him gradually changes into a night forest.

EXT. DREAM FOREST, NIGHT

John wakes up at a place, which looks like a dark forest, unknown location.
Thanks StoneJack, if this is an acceptable way to write it then that does help me. My concern with doing something like this is that you have effectively described the new scene prior to the slugline. I wasn't sure if that was allowable or not.
 
Thanks StoneJack, if this is an acceptable way to write it then that does help me. My concern with doing something like this is that you have effectively described the new scene prior to the slugline. I wasn't sure if that was allowable or not.

I see. We don't describe the transition this way, we just say into what the cafe morphs. Now, the actual morphing process can be shoot in different ways, you can use CGI, a program, use a zoom transition type thing, use fade in, fade out - that's perhaps more of visual thing. However, you will need to describe into what the scene changes to. You can omit the "Environment changes into forest" part and jump straight into a next scene EXT. NIGHT FOREST and leave the process to crew to figure it out.

I thought that your point was that the process of mixing is rather continous than a straight jump, so I wrote the example that way, but you can choose whatever you want.

Chances are that director may ask you how you see the transition, so you may describe your vision. However, that doesn't mean that they will follow you, but rather probably will do it their way, which suits their budget, location and technology. If you get paid for the script, I think its best to let them do their job cause that may end in disputes and endanger the project. This type of artistic disputes is a very usual and occurs everywhere, every time.
 
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I think it's great for a writer to put thought into transitions!
If you want to create transitions from a spec script you can do this very tactfully with match cuts

it sounds like that is along the line of what you're talking about?
Yes, that's exactly right. I'm just trying to figure how I should best describe it. Don't want to come across as directing or break any rules.
 
Yes, that's exactly right. I'm just trying to figure how I should best describe it. Don't want to come across as directing or break any rules.
If a particular type of transition is essential for development of the story, you can freely put that into a script. There is no problems with it. If you want, you write the transition itself as a specific scene, because it is so crucial. Maybe like that

INT. AFTERNOON CAFE
John falls asleep.

INT. DREAM SEQUENCE STARTS
Cafe tables break and fall, walls break into pieces in silence and cafe itself gradually disappears into a darkness, and moon appears in the night sky, shining above the dark forest. John is lying on grass near huge trees lit by moonlight.

EXT. NIGHT FOREST
John wakes up (etc etc).

Is it you what mean?
 
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Yes, that's exactly right. I'm just trying to figure how I should best describe it. Don't want to come across as directing or break any rules.

Different people will tell you different things..
Some will say dont do any directing at all from the script... but sometimes if you take too much out of your script in the name of "being professional" you lose a key part of the story youre trying to tell. if that happens then you know youve gone too far and you need to bend the rule to tell your story.
 
Just use new scene headings:

Code:
PRESENT DAY - INT. MISSY’S OFFICE. NIGHT
Chris’ body sits in his chair motionless. He can’t move. His
eyes are wide open, staring strait at Missy.
41.
INT. DARKNESS
Chris continues to slowly fall backwards. Missy approaches on
the screen above him. It shows what his eyes are seeing.

(Courtesy of Get Out)
 
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Thanks for all you suggestions, definitely given me some good ideas of how to approach it. If it's not a faux pax to describe the incoming scenery prior to the new slugline then that does makes things a lot easier.
 
If I may...

Don't worry about all the supposed rules when writing a spec... As long as we can understand what you're trying to convey? Go for it the best way you know how.

Having said that...

Consider using a format similar to using secondary location scene headings within a master location scene heading...

For example... Tweaking StoneJack's example above ever so slightly...

INT. CAFE. AFTERNOON

John orders a coffee and falls asleep. Environment around him gradually changes into a

NIGHT FOREST

John wakes up -- cafe gone -- surrounded by trees -- shards of moonlight beaming through.
 
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