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Music "literally sets the tone and the rhythm"; most trailers use up to three cues, one per act. We do not yet lay music - it is the largest remaining gap - but the cut should be planned for it: a quiet bed under the introduction, a pulse through the escalation, rises into hits in the climax, then the stop. One well-placed hit is powerful; "four is a parody".

8. What this means for our pipeline

craft rulehow we do it
On-camera lines from the bookchecker objects to an on-camera line not in the manuscript; page badges every line
Narratora cast member with a voice and no appearance; all lines lip_sync: false
Shots run their written length, line placed withinstretched Action/Cut slate, say_at start / middle / end
Accelerating climaxwordless shots may be as short as 1.5 s in the edit (each still costs a 5 s generation)
One action too big for one takesplit into two shots (the abduction became 17 and 17a)
Objects and cars stay the sametracked props with reference pictures
The camera can actually see itline-of-sight rule (no urn "seen" from the back seat)
Nothing bought twicerequest-hash guard on pictures, clips and audio
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9. A checklist for judging a script before anything is drawn

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9. Connecting shots that flow into each other

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The video model films one shot from one opening picture and one description, with no memory of the shot before. Everything that carries across a cut has to be put in front of it twice.

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The rule: a shot that continues the last one starts on the last one's last frame, and its first sentence says what is done about whatever was left moving.

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  1. The picture. On the storyboard: Opening picture → Same as shot NNN's last frame (available once that shot is filmed). That frame has the ball where it actually stopped, the dog's head where it actually turned. A drawn picture would put them where the writer imagined.
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  2. The words. Open with the state the frame shows and the first thing done about it - the "go get" sentence: "The ball lies where it stopped, six feet inside the arc; Dorothy walks to it, bends and picks it up with her right hand." If it was thrown it is fetched; dropped, picked up; rolled, walked to. Never open with the person already holding the thing the last shot left on the ground.
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carries across the cuthow to hold it
the moving object (ball, phone, cup, door)last-frame opening + a "go get" sentence; where it is in feet from a fixed thing
which way people facesay it - "facing the basket", "her back to camera"
who is wherename each person's spot, even the one who does nothing ("Toto still sits beneath the basket")
the camera side"from the same sideline"
the light and the placethe scene's background carries them; do not re-describe
the length of the beatone continuous action per shot; a "go get" plus the next beat over ~8 s is two shots
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Closing pictures are guesses; last frames are facts. Draw the next shot only after the previous one is filmed, from its last frame; if you refilm a shot, take its last frame again for the shot after it. Thrown to another person: end shot A on the throw, open shot B on the catcher already looking at the incoming ball - never show the flight twice. A hand-off stays inside one shot. If the object is meant to stay behind, say so, or the model brings it along.

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10. A checklist for judging a script before anything is drawn

  1. After the first 15 seconds, am I curious?
  2. By 35-40 seconds can a stranger say who, what is wrong, what he wants?
  3. Is every person identified the first time they are seen?
  4. Does the opposition have a face and a reason by the middle?
  5. Is every on-camera line the author's? Does each work with no context?
  6. Does every effect have its cause on screen or in the narration?
  7. Do the shots get shorter towards the end?
  8. Does it end on a question, not an answer?
  9. Would I want to read the book?

Sources