Behind The Pixel: Closing The Animation Communication Gap

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Speaker 1
Hey there.

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Speaker 2
Hello.

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Speaker 1
Welcome back.

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Speaker 2
Welcome. Welcome. Uh.

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Speaker 1
So I'm feeling a little shitty right now.

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Speaker 3
Tell us about that.

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Speaker 1
Because we weren't supposed to be recording today, and yet we are. Because I messed up a schedule, so I just. I think I should let that go.

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Speaker 3
Mm hmm.

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Speaker 1
And just breathe it out. Everyone seems to be okay with it. I apologized profusely.

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Speaker 3
And the.

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Speaker 2
Production team.

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Speaker 1
So I should. I guess I should apologize to you as well for being here at a time where you weren't supposed to listen.

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Speaker 2
Well, if you have something today that you need to let go of, we're going to let go of that together.

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Speaker 3
Yes. Yeah, yeah. So.

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Speaker 1
So take a deep breath now.

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Speaker 2
Nice. Very nice. Beautiful. Okay.

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Speaker 1
Welcome back. My name is Will.

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Speaker 2
My name is Kathryn.

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Speaker 1
And this is Behind the Pixel. We are Open Pixel Studios, the co-founders. And this is an Open Pixel podcast. This is a podcast where we try to bridge the knowledge gap between those who buy creative content and those who make it.

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Speaker 3
Absolutely.

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Speaker 1
And, you know, we can get behind pixels. Mm hmm. But what else can you get behind?

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Speaker 2
That's a fair question. I can get behind a lot of things. I can totally get behind gluten free bagels. That's fair.

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Speaker 1
That's bagels or bagels.

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Speaker 3
But bagels.

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Speaker 2
Where do they say bagels? Somebody said that.

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Speaker 1
I think you just said it.

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Speaker 2
I might have. I do know that the. I do call the Cincinnati Bagels instead of the Bengals.

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Speaker 1
The bagels.

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Speaker 2
Yeah. Because Cincinnati Bagels, their motto is like who they think can beat them. Bengals. And every time I say it fast, I screw it up and I say bagels. Right.

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Speaker 3
So sorry. Yeah.

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Speaker 2
Sorry. It all depends, but I can also get behind maybe dresses with pockets in them. That's, you know, always a good thing.

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Speaker 1
Necessary, always a good thing, necessary thing.

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Speaker 2
And, you know, cats.

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Speaker 1
Can get behind cats.

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Speaker 3
Yeah.

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Speaker 2
Yeah, we we're cool cats. We get behind cats. All right, well, before you're no longer behind us, why don't we get into today's topic?

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Speaker 1
Yes. So today's topic is our first production episode. Production episodes are slightly different. They're kind of like before you buy episodes. But we go a little bit deeper into the animation workflow. We'll try to explained a couple, too. We're going to break it down into stages. And this is our first production stage. Yes. And so you we want to think about it like as if you were in production here.

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Speaker 2
Yeah, for sure. And if you're unfamiliar with an animation production workflow, we have a whole episode about that. That's true. But we're going to take you at least today through the very first stage. So we want to cover essentially the very first thing that you do when you're starting any animation production, which is the script.

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Speaker 3
The script, yes. Oh.

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Speaker 1
You mean like like scripting, like code, like coming up with a script?

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Speaker 2
No. You know.

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Speaker 1
Or like in like in psychology when. Yeah. The social role or behavior that's appropriate to a particular situation that you learn well, it teaches you how to behave. No, no, that's not that's not.

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Speaker 2
It's not familiar. I failed psychology.

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Speaker 1
Prescription drugs. Do you like a script? Like you get a little.

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Speaker 2
Script, you're going.

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Speaker 1
Yeah, a biblical scripture, maybe.

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Speaker 3
Okay, well, yeah.

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Speaker 2
Well, the script in in animation terms is probably the easiest thing to wrap your head around. If you're either a communications professional or creative, you read the words on the page and you can kind of imagine what it will be, what the words will be on the page.

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Speaker 1
Interesting. That's like you mean like one of those things? Yeah. They come in like they're square rectangles and you open them.

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Speaker 3
You are. You talking about books?

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Speaker 1
But that's it. I think that's it. Yeah.

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Speaker 2
Yes. Wow, you're right. A script is just like a book. Incredible. The technology keeps getting better. But yeah, so the most challenging part about the process is to actually adopt new structures to your writing, to organize those thoughts into cohesive visuals that you can use across the board for your story. It can also be the most daunting as a creative because we need to be the ones who are translators from words to visuals that ultimately align with the goal of the piece.

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Speaker 2
So no easy task there. But today we're going to be covering the a script structure, formulating your script and how that structure fits in to the larger animation production workflow overall. So maybe we should start by chatting a bit about the problems in script writing that we see perhaps more broadly and then maybe even what people will gain from this episode.

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Speaker 1
Yeah, yeah. That's a that's a good segue way. So one common problem is a lack of understanding of what a script is right in the context of an animated project and again its importance in the overall animation production process. So if you're not used to creating animated content, script writing might feel far away from, say, analyzing metrics to try to get to a particular company goal.

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Speaker 3
Right.

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Speaker 2
Well, sometimes like scripts and the words within there are a little more intangible to measure.

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Speaker 1
Exactly. So script writing for business purposes is the same as sort of coming up with messaging for your audience. Some businesses might call that copy, right, or the role that you're hiring for as a copywriter. So the problem is that script writing and animation requires a little extra work to write with the visuals already sort of in mind for the story.

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Speaker 1
So again, doing that translation between those two things. So this is why in our opinion, videos created for sales, for educational purposes, for informational content you want to use in a the script format. It's the best tool for writing and keeping that message and the visuals connected to each other. I think that's really the key.

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Speaker 2
Yeah. We're going to we're going to talk about this. What this actually means in the format of it a little bit later on. So just keep it in the back of your mind for now.

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Speaker 1
Yeah. A second problem is that many people may not be familiar with the ABC structure at all. Right. And so if you're a creative writer, you might be more familiar with something like a teleplay or a screenplay or a manuscript. Those are all sort of different types of.

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Speaker 2
Versions.

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Speaker 1
Of the same thing. Again, copywriting, you would write your words in that traditional format, and when you're formatting it for, say, TV, entertainment, film, movies for sure.

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Speaker 2
And maybe let's start by doing a little, little example.

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Speaker 3
With a little bit of yeah.

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Speaker 2
A little bit of a table read.

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Speaker 3
Okay, yeah, yeah, yeah, yeah. That's it's going.

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Speaker 2
To be great. Sure. We're switching it up a little. All right. I've got our our script here on my screen.

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Speaker 1
So you've pasted it.

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Speaker 3
And I did. I did it, too. And that's because I.

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Speaker 2
Didn't want to get a PDF and be too hard. So yes, I will assume the role of Mark in the scene. Sure. Okay. If you're okay with taking the role of Johnny, I.

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Speaker 1
Can be Johnny.

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Speaker 2
And I will read the description and I'll let you know when we end scene. Sure. So here we go. Johnny and Mark enter a coffee shop and approach the counter. We see steamed milk being prepared by Susan, the barista. Johnny is reading some fine print on a folder and holding the folder directly in front of his face, covering it from view.

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Speaker 3
Mark.

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Speaker 2
How was work today?

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Speaker 1
Pretty good. We got a new client and the bank will make a lot of money.

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Speaker 2
What client do? Do I know him? What's his name?

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Speaker 1
I can't tell you. It's confidential.

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Speaker 2
Oh, come on, man. Why not? I thought we were best friends.

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Speaker 1
No, I cannot. Anyway, how's your sex life?

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Speaker 2
And seen?

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Speaker 1
That is a real script from a real movie.

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Speaker 3
One of our favorites called The Room. Yes.

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Speaker 1
You haven't seen it.

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Speaker 2
Fantastic. We're talking about. Right. So there's there's clearly different types of entertaining content.

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Speaker 1
Yeah. So often I think of like entertaining scripts as like teaching you and when you're like sort of reading between the lines, that's, that's sort of what TV film entertainment does. You write good, good films. Yeah.

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Speaker 2
Which is not what you're doing in the case of the script you just read like.

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Speaker 3
Yeah, but.

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Speaker 1
Whereas what you're talking about sales or educational or informative content, all of that information needs to be sort of provide clarity on the surface. So everyone's on the same page about, you know, what the messaging is and gets it really, really quickly.

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Speaker 2
Yeah, because when you're selling a product, you really don't want to leave any room for interpretation about what the actual product is because then no one's going to be able to actually explain it well to another person. So it's going to turn into like a game of telephone and your product is going to be one thing in your mind and completely different in the mind of the audience.

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Speaker 1
Yeah. So one last common problem that we see in our experience is the lack of clarity in the intended outcomes. So when you haven't specified your outcomes, creating a script that aligns with those outcomes becomes very challenging. So we realized that most marketing and communication professionals already have goals in mind, so we're kind of skipping that pre step right now for this episode.

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Speaker 2
We will get there. Don't worry, we'll get there.

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Speaker 1
We know developing a well-structured script and an engaging story can be a significant hurdle for some of you. So for sure, let's start by discussing the importance of outlining the story. We'll give you some tips for writing better and more engaging scripts, and then we'll move on to structuring the animation.

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Speaker 2
That sounds lovely. Yeah, because.

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Speaker 1
We want to help you craft narratives that obviously will truly captivate your audiences.

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Speaker 2
Yeah. Yeah. I would say from a story perspective, specifically write not from the like fancy, expensive.

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Speaker 3
Visual.

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Speaker 2
Nature of things, perhaps going through some form of water or ways through them.

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Speaker 3
By any means.

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Speaker 2
Ways we references like way too much. Yeah.

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Speaker 1
Ways of doing liquids. It's not a good movie.

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Speaker 2
It's. I know. Move it. We'll have a whole side to later.

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Speaker 1
So disappointed.

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Speaker 2
Yeah.

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Speaker 1
Let's get into some tips for building good stories.

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Speaker 2
Yes, that's fair to do. So why don't we start at the beginning? Once upon a time in.

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Speaker 1
A galaxy far, far away.

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Speaker 2
Now we're going to get copyright stroke or.

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Speaker 3
Something, right?

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Speaker 2
Who knows if they trademarked that? Maybe who I'm. I'm scared. Okay. Your first job in any script is to grab the audience's attention from the start, and that should really be within the first 1 to 2 lines of your script.

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Speaker 1
Yeah. And that's something you want to do. So we're talking about scripts that are about a minute long.

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Speaker 2
That's true. Yes.

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Speaker 1
For business information.

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Speaker 2
We're not making any.

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Speaker 3
Room.

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Speaker 2
Level movies.

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Speaker 1
In 15 minutes. Yeah.

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Speaker 3
Yeah.

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Speaker 2
So an intriguing and engaging opening scene is one that really presents something that sparks some curiosity or it's unexpected, or even it can be seen as mysterious sometimes. But your words could involve introducing something like a thought provoking question or describing a situation that raises, again, curiosity in the audience. And maybe it's something that they didn't know as a position that they usually find themselves in often or a situation that they've been unaware of.

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Speaker 1
Yeah, and a quick side note here. We want to set the tone with our language. Right? Right. Most established businesses and organizations have something called brand guidelines. Within those brand guidelines, they're describing something called the brand voice. Now, a brand voice is a guide. It's your point of view. It's both what you say and how you say it.

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Speaker 1
It has a feeling and has an attitude as a sound and a cadence, and it's how you present yourself in a sort of verbal manner, right? So it's not just the words, but it's also how you deliver those words. So here's a brand voice example from one of our real clients. We're not going to mention them, but the company describes their voice as this one of confidence.

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Speaker 1
It is innovative, yet practical, descriptive, yet accurate. It doesn't use jargon or slang. It makes the complex simple. It delivers honesty and above all, it believes in possibility.

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Speaker 3
Pretty clear.

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Speaker 1
Yeah, pretty clear.

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Speaker 2
Nice. Yeah. So now that you've got that sort of tone laid out, you've got your engaging statement right at the beginning. The next couple of lines, maybe lines 3 to 4 or kind of where you want to start to build tension, which sounds scary, but go with us. So in order to build tension, your audience needs to know and probably see their desired destination towards the end, right?

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Speaker 2
Ideally, this is where you want to show an imagined solution to a problem, but putting it out of reach in some way, you're essentially creating an obstacle. Obstacles are used in every form of storytelling.

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Speaker 3
Yeah.

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Speaker 2
And we want our audience to understand the obstacles in their way. And ideally, they should align with the obstacles in your audiences real lives. That's what makes them relatable to the audience. So ultimately, that's what makes the problem solution script as we know it so prevalent in animation, the setup allows for the audience to connect with their own shared experiences.

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Speaker 2
But that problem solution method, to be clear, is really only effective when you combine it with that right tone and voice, as we were talking about before, because otherwise you're going to go down the road of like over-the-top infomercials. Those things that you see where it's like, you know, are you tired of your Tupperware being too disorganized? And then they.

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Speaker 3
Open the cabinet and they.

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Speaker 2
Pause out all over and they're like.

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Speaker 3
What have this? Got it? There's got to be a way. Yeah, that's.

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Speaker 1
Humbling. Really?

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Speaker 2
Yes. Yes. I'll let you know if that's your intention. Right. If your tone is comedic and over the test true. Then run with that. But if you're trying to have a different tone of voice, there's other options for you there. There's other ways to show your problem and solution.

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Speaker 1
So we want to present obstacles in the middle of the script, and that's because it's the meat of your journey, right? It's usually more than one obstacle you want to show more than one. The tension is built by making the next obstacle a lot harder than the one previous. Right? So you see this a lot in feature films, but you can do it in any kind of writing.

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Speaker 1
We need to see the result of some failure before we can see Triumph. I think a lot of the times what I see in script writing is like, Oh, we just got to the solution. And there's really no problem. This is what makes resolution satisfying, right? Right, right.

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Speaker 2
Right. It's it's the reward without the effort put into it.

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Speaker 3
Yeah.

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Speaker 1
So if you're selling a solution, your product or service should be at the heart of that solution. It should be the reason why we we as part of the journey, come to an understanding that there is a resolution. Yeah, it should be because of that solution that we resolve the final obstacle for sure.

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Speaker 3
Yeah.

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Speaker 1
And a quick note here on pacing. So the resolve, the resolution, the ending of your story should really be fast in terms of sort of screen time. So like only 10% of your time should be dedicated to the resolution. Everything should really be built on that tension, that middle piece.

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Speaker 2
Yeah, I mean, that makes a lot of sense because in theory, you want to show that it's a quick and easy solution to the problem and then lead them faster to that, to buying the product or to going with that service. Like if you if you hold on to it for too long, you're going to lose them towards the end.

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Speaker 1
Call to action myself to this website.

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Speaker 2
Super clear.

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Speaker 3
Yeah.

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Speaker 2
Yeah. Because ultimately here it's important to remember that we're trying to take the audience on an emotional journey. Yeah, we want them to feel. Feeling is nice. So we suggest outlining either the feelings or the themes that you're going to be using in the beginning, middle and end of your script the whole way through. Yeah. And using that as a guide to come up with the words that you want to go for along the way.

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Speaker 1
Bonus tip here on length for you math geeks like myself. Oh.

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Speaker 3
We're ready for this. I don't know.

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Speaker 1
You should be. So it takes about roughly 166 words of spoken English language to get to a minute of video, some clocking at 180 200 depending. But if we find 166 gives us some really good padding for transitions. So we get get that buffer in there. So if you're going for a one minute animated piece, you want to do 166 words.

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Speaker 1
If you're going to do half that, obviously a 32nd piece would be 80 to 90 words. So not a lot of room to be super wordy. I'm sorry. Are you are you with us?

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Speaker 3
Well. Oh.

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Speaker 2
I'm sorry. I fell asleep because it's math and I don't care.

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Speaker 3
Wow. Okay.

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Speaker 2
Well, to your point of this being super wordy, it's one of the biggest challenges that we actually see in a lot of scripts, because the copywriters in your organization, they're so knowledgeable about the subject and they're equally so passionate about what they're trying to tell about the subject matter. And so oftentimes we'll get a script that's maybe perhaps a little too overloaded on the word front, right?

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Speaker 2
So it's our job to simplify the content by recognizing what words can actually be translated into visuals. Because if you think about it, it's like what they say a picture is worth a thousand words. So it makes a.

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Speaker 1
Big always say the same thing and less words.

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Speaker 2
Yes, yes. And you can always change things with visuals. So yeah, now that we kind of have these sort of tips out of the way, we can get into sort of the organizing side of a script. So why don't we talk about the structure a little bit?

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Speaker 1
We don't talk about structure.

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Speaker 3
No, no, no. Wow.

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Speaker 2
Are we are we are we about to get into making a new song again? We do this sometimes for those who are coming in for the first time here.

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Speaker 1
We we get they totally rewrite the song.

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Speaker 2
Just to be about every scripts.

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Speaker 1
Lin-Manuel Song about 80 scripts.

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Speaker 3
Do you love that? Yeah.

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Speaker 2
No text allowed on the screen.

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Speaker 3
Yeah. Yeah, yeah.

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Speaker 1
This is true. We don't talk about structure enough, so.

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Speaker 2
Yeah, okay. Yeah.

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Speaker 3
You're right. Let's get to it.

00;18;18;05 - 00;18;42;28
Speaker 1
So the structure we suggest again, writing these scripts is called the AV script format. This is again for informational, educational and sales storytelling story content. A V stands again for audio and visual, a v script. It's like a blueprint for the entire production and that's how we treat it. Ours is specifically formatted and created with the visuals and production in mind, so it ties it all together.

00;18;43;12 - 00;18;55;01
Speaker 1
This is a specialized structure for your story. It's designed specifically to organize your thoughts, lay out the foundation for the production, allow for your creative roles to chime in. Yes. And it typically would be.

00;18;55;01 - 00;18;55;17
Speaker 2
Allowed to do.

00;18;55;25 - 00;19;09;15
Speaker 1
As they should be allowed to do. It typically includes dialog or voiceover, the script, whatever you wrote, the copy, visual direction or instructions for the animation team. Any text on screen? Some people call that tossup.

00;19;09;19 - 00;19;10;15
Speaker 2
Or supers.

00;19;10;22 - 00;19;28;03
Speaker 1
Or supers a general outline of timing and spacing and pacing and all of that. To be able to synchronize both audio and visuals seamlessly. So it combines all of these details in a nice grid like fashion, like statistics on a spreadsheet.

00;19;28;14 - 00;19;29;05
Speaker 2
That's fair.

00;19;29;07 - 00;19;30;08
Speaker 3
You know.

00;19;30;08 - 00;19;39;08
Speaker 2
When I think about statistics on a spreadsheet like I do all the time, almost all the time, I think about baseball now. I want you to hear me out for now.

00;19;40;00 - 00;19;40;11
Speaker 3
Okay.

00;19;40;16 - 00;19;47;13
Speaker 2
So think about when you go to a baseball game. Well, if you think about it, that game will give you all of the information that you should.

00;19;47;19 - 00;19;50;06
Speaker 1
I think people are making the game shorter. They are pretty sure.

00;19;50;06 - 00;20;12;04
Speaker 2
Well, see, this is a great example. So if you think about all the information that you're getting, you're getting how much time there's left to pitch every single moment right? You're getting what the stakes are, what who's up to bat, what their statistics are. And you're getting all of that information so that at the end of the game, when you see everything laid out, it actually paints a story.

00;20;12;07 - 00;20;33;20
Speaker 2
It tells you what happened. Within that, there were obstacles, there were highs and lows. It's a form of storytelling, and that's kind of what a Navy script does. It paints a picture of the overall story, outlining all of the key information that needs to be shown in order for the audience to follow along in time. That's that's the key piece there, too, right?

00;20;33;20 - 00;20;37;03
Speaker 2
You're following along in time, not just on your own piece.

00;20;37;07 - 00;20;44;02
Speaker 1
You know, that's not a bad analogy. I didn't really argue. I didn't really think about scripts being very similar to games.

00;20;44;16 - 00;20;45;03
Speaker 3
We're thinking.

00;20;45;03 - 00;20;46;23
Speaker 2
About analogies. Yeah, but yes.

00;20;47;09 - 00;21;05;23
Speaker 1
So let's quickly go through this structure again that we use here at O.P. to give you a sense of how we structure these scripts. So three steps here, really kind of easy step. One, reformat your current words so that there's no additional visual information being transmitted to the reader.

00;21;06;20 - 00;21;07;10
Speaker 2
Okay, this.

00;21;07;10 - 00;21;20;24
Speaker 1
Is before you put it into the script format. So a lot of times you're using something wherever it is, you're writing your script and chances are you're using one of these things, something like bullets, putting bullets in there line bricks.

00;21;21;09 - 00;21;21;22
Speaker 3
Breaking up the.

00;21;21;22 - 00;21;28;03
Speaker 1
Lines in different ways. You're putting extra spaces between things. Maybe there are bolded items that you're using.

00;21;28;04 - 00;21;28;24
Speaker 2
To do them.

00;21;28;24 - 00;21;34;00
Speaker 1
For size specific things. Maybe you're using all caps to emphasize.

00;21;34;07 - 00;21;36;15
Speaker 3
Some words all caps.

00;21;36;16 - 00;21;47;24
Speaker 1
All caps. Yeah, maybe you're using italics to kind of say, okay, this this thing is important. Maybe you're underlining all of these things. Maybe you're a highlighter. Are you a person who highlights text?

00;21;47;24 - 00;21;55;14
Speaker 2
Oh, I'm a highlighter person. So not only am I a highlighter person, I'm a color coordinated highlighter, sedated highlighter.

00;21;55;14 - 00;21;56;03
Speaker 3
Yes.

00;21;56;18 - 00;22;18;23
Speaker 1
It's all of these things. So for all the tools that we're using are giving us extra additional formatting so that we can emphasize our language. That's what tools are supposed to do. But really, we want to remove all of that because we don't want to give any extra additional information to the reader. The goal in reformatting is to remove all the visual cues that modern writing tools give us.

00;22;19;04 - 00;22;31;05
Speaker 1
So you can start with a clean slate, right? You want to start with letting the words speak for themselves, and it also helps to open up creative possibilities that maybe couldn't be seen before by the person who's going to do some visual writing.

00;22;31;15 - 00;22;41;00
Speaker 2
Right? Right. Because it could limit yourself to being like, well, it has to be said in this particular emphasis, so we can't possibly add something else.

00;22;41;00 - 00;22;56;15
Speaker 1
So I've seen bolded things go for like voiceover recordings, which is a little bit different. A video script is just the words and that's given to a video artist. An AV script is again to get people on the same page about what's the visual going to be tied to this dialog.

00;22;56;15 - 00;22;57;14
Speaker 3
Yeah. So yeah.

00;22;57;14 - 00;23;01;05
Speaker 2
That's definitely important. Yeah, yeah. So on to step two.

00;23;01;06 - 00;23;02;26
Speaker 3
Yes, to DOS.

00;23;04;02 - 00;23;06;20
Speaker 2
We're learning Spanish today. An incredible.

00;23;06;20 - 00;23;07;08
Speaker 1
Idea.

00;23;08;12 - 00;23;08;27
Speaker 3
What is that?

00;23;09;09 - 00;23;10;16
Speaker 1
It's, I think two in French.

00;23;10;25 - 00;23;11;05
Speaker 3
Oh.

00;23;11;18 - 00;23;12;20
Speaker 2
So I don't know any French.

00;23;13;13 - 00;23;14;18
Speaker 3
Was nee.

00;23;15;04 - 00;23;36;27
Speaker 2
In Japanese. There you go. Okay, on to step two. So what you're going to do from there is you're going to paste those words, you're going to copy all the words that you wrote in whatever format you did, and you're going to paste them into your TV script template. There are many different AB script templates out there, but for today only that's not true.

00;23;36;27 - 00;23;38;29
Speaker 3
But for this we.

00;23;38;29 - 00;23;59;13
Speaker 2
Have a free AB script on our site right now for you to be able to look at. It's at the bottom of our site. It's under free resources. You can click there, it'll take you to a resource page and you can go to the bottom of the page there. You can also go directly to open Pixel Studio Scum slash AV script, all one word, no fancy little line breaks or things like that.

00;23;59;23 - 00;24;03;05
Speaker 2
Yeah. Available for DVDs and Excel.

00;24;03;05 - 00;24;08;03
Speaker 1
Sheets and Excel. Yes. You don't have other templates for all the other 800 platforms that I use.

00;24;09;04 - 00;24;10;25
Speaker 3
So how many? How many books?

00;24;10;28 - 00;24;11;27
Speaker 1
Free resources.

00;24;12;08 - 00;24;14;22
Speaker 3
What a rip off. We're the worst.

00;24;15;06 - 00;24;20;20
Speaker 2
I can't wait to write an angry comment on one of my other 800 platforms.

00;24;20;20 - 00;24;22;21
Speaker 3
Oh, yes. Well.

00;24;23;01 - 00;24;26;07
Speaker 2
Okay. It's still important to know how you're going to paste it.

00;24;26;07 - 00;24;27;20
Speaker 1
How are we going to put it in this resource?

00;24;27;22 - 00;24;28;03
Speaker 3
Yeah.

00;24;28;03 - 00;24;47;12
Speaker 2
So what you need to do is you need to split your writing into either sentences or sections of sentences. And I know that sounds kind of silly, but it is crucial. So we'll break down a little bit of what we mean. So when you write a script fully out in the ways that you've been doing, your mind is putting together the thoughts.

00;24;47;12 - 00;25;13;15
Speaker 2
And they're flowing pretty nicely from one section to another. But when you watch something, your mind can really only see maybe 1 to 3 things at a time. And so we can't pay attention to all of the visuals all at once. So we need to be able to split our visual ideas into segments. And each visual segment almost always falls within either a single sentence or within a section of a sentence.

00;25;13;17 - 00;25;30;10
Speaker 2
Yeah. And again, this is really for projects that are related to sales, educational or informative content. So when you have these longer sentences, maybe run on sentences is a good example of that. We suggest breaking up those parts at either the commas or the conjunctions.

00;25;30;10 - 00;25;31;20
Speaker 3
The ands.

00;25;31;20 - 00;25;32;04
Speaker 1
Or.

00;25;32;05 - 00;25;36;05
Speaker 2
Buts conjunction junction. What's your function? Well.

00;25;36;17 - 00;25;38;15
Speaker 3
I'm going to burn and I don't remember.

00;25;38;20 - 00;26;01;09
Speaker 2
I don't remember the lyrics, but I remember that part or schoolhouse rocking it now. And it's because that's where a voice actor would naturally pause. And when you're writing, it's usually where you start talking about something else. Yeah, see what we did. There are pauses there. Nice. You should pause a little bit more sometimes.

00;26;01;09 - 00;26;02;12
Speaker 1
Let's do a quick example.

00;26;02;12 - 00;26;03;12
Speaker 2
As he doesn't pause.

00;26;03;12 - 00;26;06;25
Speaker 1
I'll give you a sentence from a real project that we worked on.

00;26;06;28 - 00;26;07;07
Speaker 3
Okay?

00;26;07;16 - 00;26;12;00
Speaker 1
And let's maybe come up with how we would break up this sentence here.

00;26;12;09 - 00;26;12;23
Speaker 2
What is this?

00;26;12;24 - 00;26;26;09
Speaker 1
And here's a sentence. Many folks like you work every day to improve outcomes for children and their families. Now, I read it weirdly. Yeah, because I don't want you to know where the pauses are.

00;26;26;12 - 00;26;26;29
Speaker 3
I see.

00;26;28;18 - 00;26;51;10
Speaker 2
Yeah. I mean, I guess if I were to naturally read that sense, right, I'd be like many folks like you work every day to improve outcomes for children and their families. So just from a natural standpoint, it's hard because if I do, you know, I might think to bring it up at each comma. Right. Many folks like you work every day.

00;26;51;10 - 00;26;57;02
Speaker 2
Those are three potential shots that I could use. True. But time wise, those might feel pretty short.

00;26;57;02 - 00;26;58;25
Speaker 1
So many folks. That's just two.

00;26;58;25 - 00;27;08;06
Speaker 2
Words. It's two words. Yeah. So maybe I'd switch it up to be like many folks like you work every day and start there and then break up the sentence.

00;27;08;06 - 00;27;15;08
Speaker 1
Yeah, yeah, yeah. I agree. I think, you know, a leaves a good chunk for to improve outcomes for children and their families like that.

00;27;15;25 - 00;27;18;01
Speaker 2
Right. It's a good chunk to come up with visual descriptions.

00;27;18;01 - 00;27;22;09
Speaker 1
For how you can kind of visually think right now, oh, how do I show improvement for children in their families?

00;27;22;09 - 00;27;23;06
Speaker 3
Yeah, yeah, yeah.

00;27;23;15 - 00;27;28;24
Speaker 2
So that's that's a little bit of the the behind the scenes of what we kind of talk about and work through when we're talking about scripts.

00;27;28;29 - 00;27;53;04
Speaker 1
All right. So step three, once you have your script pasted into the template, you'll notice that our template actually splits those things, those rows into shots. They're actually production shots. And now you can start visual like visual writing, writing your visual ideas down. When you're writing for visuals, you probably already have some ideas, pop up in certain sections during your script writing phase.

00;27;53;04 - 00;28;13;05
Speaker 1
So when you write those, you can now write those into the shots where they show up on the template because visual writing is so dependent on the script. The real tip that we can give you here is to pay attention to the length counter on our template so it counts words, but it also converted to a length based on that 166 rule.

00;28;13;19 - 00;28;25;26
Speaker 1
That's important because it gives you a sense of how much time the audience will have to take in your visuals. I see this as something with a 1 to 2. Second time span is not enough time necessarily to get something across.

00;28;25;29 - 00;28;35;00
Speaker 2
In a fight because sometimes we'll see that through like transitions between shots and motion. But it sounds like you're telling me that I probably should have paid attention to the math a.

00;28;35;00 - 00;28;36;12
Speaker 3
Little bit more. So I'm.

00;28;36;13 - 00;28;37;11
Speaker 2
Said now in these.

00;28;37;11 - 00;28;56;13
Speaker 1
Cases, you could do a few things. You can combine words. So in other words, you're making the shot longer and having fewer shots. You can make the visuals really simple. That's a little harder to do, but doable. Yes. Or you can make sure that in the edit you leave room for the visual and push out the next dialog line.

00;28;56;17 - 00;29;11;20
Speaker 1
That's a little bit harder. This changes the pacing of our natural language, which can be effective for certain things, but it lengthens the overall video. So that might not be an entirely good idea based on the algorithms that are, you know, rewarding shorter videos.

00;29;12;05 - 00;29;15;15
Speaker 2
That's true. That's true. Right. We know breaths.

00;29;15;28 - 00;29;18;04
Speaker 3
No one is allowed to take.

00;29;18;04 - 00;29;22;01
Speaker 1
You know, that is something we do in the in the voiceover. When people record a voiceover, you'll usually get that.

00;29;23;05 - 00;29;23;27
Speaker 3
Oh yeah.

00;29;24;13 - 00;29;25;20
Speaker 2
Sometimes. Look at that. Yeah.

00;29;25;20 - 00;29;26;18
Speaker 1
Yeah. Even if we do it.

00;29;26;18 - 00;29;28;00
Speaker 2
Here or add silence or things of that.

00;29;28;00 - 00;29;29;03
Speaker 3
Nature. Yeah.

00;29;29;06 - 00;29;45;15
Speaker 2
The power of editing. All right, well, so why don't we take that same example that we had before with the script line, and we'll brainstorm some visuals for it. Okay, so the sentence to reiterate is many folks like you work every day to improve outcomes for children and their families.

00;29;45;16 - 00;29;45;25
Speaker 3
Okay.

00;29;46;10 - 00;29;49;04
Speaker 2
What would you do visually? Yeah.

00;29;49;19 - 00;30;06;19
Speaker 1
So I would miss many folks like you work hard or work every day. I think I would cut it there. Many folks like you work every day. Yeah. At that point, I think I would want to see. Okay, who are my what's my persona? What am I selling or what are we talking about?

00;30;06;19 - 00;30;30;14
Speaker 2
Right. I feel like that could come through in a number of ways. Right. As a reminder, in one episode we talked about like characters don't have to be actual people. Characters can actually be like icons. So if you're saying you want to show a community, it could be icons of a community or it could be things that resemble represent your community, like housing or, you know, parks or playgrounds or things of that nature.

00;30;30;14 - 00;30;32;03
Speaker 2
Like if you're if you're talking about families.

00;30;32;14 - 00;30;53;23
Speaker 1
So we're talking about children and their families. Similarly, we're talking about children. So maybe, you know, many folks like you, you're going to probably have a child. You're probably going to be working, working middle class person. So I kind of want to show that in in the situation of the work that we're in. So if we're talking about a specific type of work that we would want to see that type of work being done right.

00;30;53;23 - 00;31;06;10
Speaker 2
I mean, you can already see while we're talking about this to like how much context is so important. Like if we don't have the goal of like who the actual audiences were like, well, what type of family retargeting, what's the age.

00;31;06;10 - 00;31;16;06
Speaker 1
Range that we're talking about children. And so to improve outcomes for children in their families. So the outcome what are the outcomes that we're talking about, right? Are we talking about health?

00;31;16;06 - 00;31;20;13
Speaker 2
And you can. Yes. Or one particular theme. So that was easy, right?

00;31;22;09 - 00;31;22;23
Speaker 3
No.

00;31;22;24 - 00;31;40;25
Speaker 2
I mean, ultimately, really, those you can kind of tell there's a lot of hard work that actually goes into making visual descriptions because it all has to tie in together cohesively. Yeah. So we do hope, though, that this gives you some idea of how to think about scripts a little bit differently than you might have been for your upcoming projects.

00;31;40;28 - 00;31;46;29
Speaker 2
Yeah, and really it's so that way. Lisa isn't tearing you apart.

00;31;47;20 - 00;31;53;28
Speaker 1
That's another reference to the rule. Go on. If you haven't seen the room, go watch the.

00;31;53;28 - 00;31;55;11
Speaker 2
Room. Not with your children.

00;31;55;19 - 00;31;56;24
Speaker 3
Yeah, don't watch anything.

00;31;56;24 - 00;31;58;12
Speaker 1
It's not a it's not a kids.

00;31;58;25 - 00;31;59;14
Speaker 3
Just written a.

00;31;59;14 - 00;32;00;19
Speaker 2
Disclaimer in there right.

00;32;00;19 - 00;32;02;09
Speaker 1
Now. But it's also not a good movie.

00;32;02;13 - 00;32;02;27
Speaker 2
Right? Right.

00;32;02;27 - 00;32;04;13
Speaker 1
If you like bad movies, you like this.

00;32;04;13 - 00;32;07;04
Speaker 2
Yeah. Yeah, we're we're fans of bad movies here.

00;32;07;04 - 00;32;31;28
Speaker 1
So why do we learn from bad movies? You do learn what not to do. So the script format we've provided outlines, production, animations together, right? Each row in that thing is a shot inside of the animated piece, which loosely translates into one panel in a storyboard. Or you can also think of it as like a one slide in a slide deck.

00;32;32;12 - 00;32;45;02
Speaker 1
This is the foundation for the rest of the production. It's how we develop internal stuff, source files. It's how we refer to them internally in meetings. It's how we refer to compositions inside of our projects.

00;32;45;08 - 00;32;46;07
Speaker 2
It's the whole deal.

00;32;46;07 - 00;32;47;00
Speaker 1
It's the whole deal.

00;32;47;11 - 00;32;48;15
Speaker 2
It's the kit and caboodle.

00;32;49;01 - 00;32;49;25
Speaker 1
It's the.

00;32;49;29 - 00;32;50;15
Speaker 2
Where does that come.

00;32;50;15 - 00;32;52;22
Speaker 1
From? It's the Hardy Bugatti I.

00;32;53;09 - 00;32;56;17
Speaker 2
I don't know where Kit and caboodle comes from. No, I don't know. I have to look this up.

00;32;56;23 - 00;32;58;02
Speaker 1
But I, I think I just came up with.

00;32;58;02 - 00;32;58;10
Speaker 3
One.

00;32;59;14 - 00;33;00;16
Speaker 2
How do you Bugatti.

00;33;00;18 - 00;33;01;04
Speaker 1
They would go.

00;33;01;10 - 00;33;09;13
Speaker 3
I don't it is stupid or silly. It's it's because.

00;33;09;27 - 00;33;32;16
Speaker 2
Ultimately we want you to feel empowered to utilize a tool that creates transparency among the people who buy the creative content and the people who make it to get their ideas seen on the page. Yeah, right. And so what you can do with this is you can either take take a TV script and work with it on your own before even coming to us or bring us a script and we'll update it into that format.

00;33;32;18 - 00;33;34;11
Speaker 1
Yeah, we usually do that anyway.

00;33;34;11 - 00;33;52;26
Speaker 2
Yeah. Yeah. We do feel that regardless of where the creative gets involved, they should really always have the ability to revise a script because they'll be able to provide their expertize on what you might not be able to see while you're writing it. Right. It's just getting an extra set of eyes that can look at it a little more objectively too.

00;33;52;27 - 00;34;13;29
Speaker 1
Yeah. The other thing too, is that going through it this way prevents hopefully future changes because you keep thinking through all of these things at once. Now, it could be that in certain parts of the workflow there are changes to the script. But we'll get to other stages and we'll talk about how those changes sort of backwards rather than forwards.

00;34;13;29 - 00;34;20;08
Speaker 1
You want, you want to always have it so that the changes are never affecting the production, the future in.

00;34;20;08 - 00;34;20;26
Speaker 2
Time over.

00;34;21;03 - 00;34;24;04
Speaker 1
Affect the past. Yeah, it's kind of a weird way to think about it.

00;34;24;04 - 00;34;54;05
Speaker 2
But yeah, I mean, some of the times we can say that like our favorite time is working on scripts, or when we get the chance to really dove in and collaborate on visual description ideas with the client. Yeah, yeah. Like we can come up with our, our own ideas based on everything that we've been given, but it's honestly just more fun, it's more enjoyable, it's more authentic to come up with the ideas together because you can really feel the creativity in the room and everyone's able to contribute their ideas, even if there's like some boundaries within their right.

00;34;54;13 - 00;35;12;05
Speaker 2
It can be like, Oh man, I've got this really cool idea. There's going to be like 800 characters and it's going to be awesome. And then we'll be like, Okay, well, we can take a core piece of that and still bring it in, knowing that we're objectively looking at it from time and budget perspective too. So yeah, lots of great ways to work with scripts.

00;35;13;00 - 00;35;28;01
Speaker 1
But so hopefully you've learned a bunch here if you have any questions at all about this or about any of our episodes, again, you can submit your questions anonymously now to open Pixel Studios dot com slash powered question. All one word all of our case.

00;35;28;16 - 00;35;31;20
Speaker 2
This is going to be a problem for me because now I should be able to submit questions.

00;35;31;25 - 00;35;39;05
Speaker 3
You bet that's true. You can be going after this stuff. Yeah. Yeah. Cool.

00;35;39;08 - 00;36;00;07
Speaker 2
Very excellent. All part of the plan. Yeah, I can get into the tease a little bit here. So our next episode is a hack. It's going go over three things to do before writing your next script for animation. Yeah. All right. So lots of good info, but we wanted to bring we wanted to bring it all into this one, but it's just it's just a little too much.

00;36;00;18 - 00;36;15;15
Speaker 2
The hack is really for people who don't have brand guidelines yet and are not well-established yet. Right. They're just getting started. They're figuring it out and they want to make a script and not really sure about how that that approach would work. So definitely be on the lookout for that.

00;36;15;23 - 00;36;24;09
Speaker 1
Yeah. So big thank you to E media for producing this podcast, especially today. Especially today. Thank you. Jackson Foote. Yes, opening the doors.

00;36;24;23 - 00;36;25;08
Speaker 3
Literally.

00;36;26;05 - 00;36;31;27
Speaker 1
Our music was created by hidden and licensed through Premium BBC.com. And until next time.

00;36;31;29 - 00;36;35;09
Speaker 2
Oh, so happy you said that. Stay honest.

00;36;35;09 - 00;36;35;15
Speaker 1
Stay.

00;36;35;15 - 00;36;37;08
Speaker 2
Creative, stay open.

00;36;37;08 - 00;36;39;24
Speaker 1
Netflix Studios, thank you so much for listening.

00;36;39;24 - 00;36;41;20
Speaker 2
And your favorite customer.

00;36;41;25 - 00;36;44;16
Speaker 1
Wow. Boiler room jokes.

00;36;44;20 - 00;36;45;08
Speaker 3
Wow.

00;36;45;08 - 00;36;47;01
Speaker 2
I should I honestly should have put more in.

00;36;48;01 - 00;36;48;06
Speaker 3
Been.

00;36;49;01 - 00;36;51;04
Speaker 1
Audio listen and stick around for a bad idea.

00;37;06;19 - 00;37;11;11
Speaker 2
All right we've got our first visual bad idea.

00;37;12;19 - 00;37;14;24
Speaker 1
Was not a vision we're not gonna show people. No, you're.

00;37;14;24 - 00;37;15;25
Speaker 3
Right. We're not doing.

00;37;16;08 - 00;37;18;19
Speaker 2
Like we're on the YouTubes, though. That's true.

00;37;18;20 - 00;37;20;00
Speaker 1
Hello is on waiting.

00;37;20;08 - 00;37;20;19
Speaker 3
Yeah.

00;37;20;27 - 00;37;22;26
Speaker 2
Why? Nobody calls it the summer.

00;37;22;26 - 00;37;25;06
Speaker 1
The kids call it.

00;37;25;06 - 00;37;25;17
Speaker 3
I don't know.

00;37;25;28 - 00;37;28;18
Speaker 2
I do. I do not know why.

00;37;28;20 - 00;37;30;05
Speaker 3
I want you.

00;37;30;05 - 00;37;30;14
Speaker 1
To.

00;37;30;26 - 00;37;35;22
Speaker 2
Be. No, no. I know what it means. I don't know what kids call anything nowadays anymore.

00;37;35;28 - 00;37;37;07
Speaker 3
Yeah, yeah. You know.

00;37;37;07 - 00;37;38;03
Speaker 1
It's hard to keep up.

00;37;38;04 - 00;37;39;00
Speaker 2
It's very hard.

00;37;39;03 - 00;37;42;18
Speaker 1
Especially when you're not in high school and have other people.

00;37;42;18 - 00;37;42;24
Speaker 3
That.

00;37;42;24 - 00;37;54;03
Speaker 2
Yeah, but yeah. So if you are listening or watching on YouTube for the first time, what we typically do is on our audio version of the podcast; we will always have a.

00;37;54;03 - 00;37;55;06
Speaker 3
Little, little.

00;37;55;20 - 00;37;57;09
Speaker 2
Snippet of something at the end where.

00;37;57;09 - 00;37;58;05
Speaker 1
Something stupid at.

00;37;58;05 - 00;38;22;24
Speaker 2
The end. Yeah, it's usually stupid. We'll discuss a bad idea and what we typically do in our company. Just for fun behind the scenes here is we will have our meetings. Will they might be hard, they might be challenging in a good way. They might like, you know, they might really drive our creative juices. But at the end of the day, we tried to pitch really stupid company ideas to each other.

00;38;23;01 - 00;38;32;04
Speaker 1
It takes us out of our it takes us out of our comfort zone. It challenges our brains to come up with solutions to problems that no one actually asked for.

00;38;32;04 - 00;38;39;10
Speaker 2
Exactly and nobody needs or cares about. But we have fun with it. So today's.

00;38;39;10 - 00;38;40;02
Speaker 1
I totally forgot about.

00;38;40;02 - 00;38;51;00
Speaker 2
This one. I know. I found it today in our in our archives of the many ones. This seems pretty good. Yeah. So our bet idea that I very decent distinctly remember coming up with is.

00;38;51;07 - 00;38;52;00
Speaker 1
This is totally on you.

00;38;52;01 - 00;38;52;14
Speaker 3
Yeah, yeah.

00;38;52;18 - 00;38;56;05
Speaker 2
It's called Mission Impossible. Okay. Pretty good. Pretty good name.

00;38;56;05 - 00;38;57;24
Speaker 1
Pretty good. I think I came up with the name.

00;38;57;28 - 00;39;03;10
Speaker 2
I think you did. Yeah. So Mission Impossible is the idea that I love working on puzzles.

00;39;04;01 - 00;39;05;04
Speaker 1
And if you're a puzzle lover.

00;39;06;08 - 00;39;07;07
Speaker 2
Send me a puzzle.

00;39;07;07 - 00;39;09;13
Speaker 3
Yeah, I'll send you a puzzle.

00;39;10;07 - 00;39;32;28
Speaker 2
Came up to work on your puzzles, so I'll sit there for hours. Right. I'm listening to your music. I'm having a good time, and my back starts hurting. Okay? You're sitting there like you're not stretching enough because you're just hanging over the table and you're doing your puzzle. That's right. So what if you had a way to keep your back nice and straight and positioned and still be able to do a puzzle?

00;39;33;08 - 00;39;38;09
Speaker 2
Introducing Mission Impossible. It is an attachment for your ceiling.

00;39;38;13 - 00;39;40;10
Speaker 3
Okay?

00;39;40;10 - 00;40;06;15
Speaker 2
And what it does is it comes down and provides you with a full harness so that you can do your puzzle above the puzzle. Exactly right. So you can now move around a little bit more freely. You can stretch a little bit up and down. You can take breaks. We need to... it has like, what do you call it, like a rail so that when you need to come back down because you don't want to come down on your puzzle like a cat, you never want to do that.

00;40;06;15 - 00;40;09;27
Speaker 2
Yeah, but it does provide you with all the flexibility.

00;40;09;27 - 00;40;17;28
Speaker 1
That you should be physical. You should be able to put your hands on the ground and like push yourself towards one of the corners of the ribs and that.

00;40;17;28 - 00;40;20;19
Speaker 2
And then you can benefit from feeling like you're Tom Cruise.

00;40;20;19 - 00;40;24;01
Speaker 1
So that's true. Yeah. Yeah, it is. Actually. It's sponsored by Tom Cruise.

00;40;24;03 - 00;40;32;02
Speaker 2
Oh, that would be amazing. Because if we if we got like a mission. Impossible, impossible. All puzzle to do the marketing for.

00;40;32;02 - 00;40;32;18
Speaker 1
That's right.

00;40;32;19 - 00;40;33;14
Speaker 2
That would be great.

00;40;33;14 - 00;40;34;16
Speaker 1
That's pretty cool.

00;40;34;16 - 00;40;36;04
Speaker 2
Yeah, it's very expensive.

00;40;36;25 - 00;40;39;26
Speaker 1
And you know, it requires you to, like, put a hole in your ceiling.

00;40;41;16 - 00;40;43;13
Speaker 3
You have to be very clear about this.

00;40;43;13 - 00;40;44;08
Speaker 2
Is where you do your.

00;40;44;08 - 00;40;46;01
Speaker 1
Puzzles. Like a £600 limit, though.

00;40;46;02 - 00;40;52;00
Speaker 2
Yeah, yeah, yeah. And then yeah, it's got, you know, maybe Bluetooth capability somewhere, right?

00;40;52;00 - 00;40;53;14
Speaker 1
Crossbeam if you don't put it.

00;40;53;19 - 00;40;54;00
Speaker 3
Just put.

00;40;54;01 - 00;40;54;29
Speaker 1
It is in its place.

00;40;54;29 - 00;40;57;01
Speaker 3
If not, it's.

00;40;57;02 - 00;40;59;11
Speaker 2
Yeah, you have to sign a waiver before you sign up.

00;40;59;11 - 00;40;59;28
Speaker 1
Does you.

00;40;59;28 - 00;41;01;07
Speaker 3
Buy it. You bought.

00;41;01;07 - 00;41;01;09
Speaker 1
It.

00;41;01;13 - 00;41;05;16
Speaker 3
You and we are not liable. Yeah, we're not liable. So if you.

00;41;05;27 - 00;41;25;08
Speaker 2
If you have ideas for how you want to expand on this stupid idea, please feel free. We love when people like either draw things. Fanart is always fun. Put it in the comments. Put it in the comments how. How could we market it to Shark Tank one day, one day, one day it will happen. So but thank you for listening.

00;41;25;08 - 00;41;38;19
Speaker 2
If you want to hear other bad ideas, you can always check out our audio episodes at the end of every episode. And yeah, we'll see you next time. Dun Dun, what's a song didn't do? And then dun dun dun dun.

00;41;39;08 - 00;41;44;21
Speaker 3
Plausible. Plausible. Yes. And in the jigsaw.