2:08

WHAT SHOW SHOULD I WRITE FOR MY SITCOM SPEC SCRIPT?
SitcomQuestions.com When writing a spec script for a TV sitcom, which comedy show should s...
published: 31 Jul 2011
author: whereyou123
WHAT SHOW SHOULD I WRITE FOR MY SITCOM SPEC SCRIPT?
SitcomQuestions.com When writing a spec script for a TV sitcom, which comedy show should sitcom writers use for a sitcom writing sample? Ken Levine (Cheers, M*A*S*H, Frasier, Simpsons) answers. Learn for yourself what it's really like to be part of a TV sitcom writing room by attending Ken Levine's annual "Sitcom Room" in Hollywood SitcomRoom.com
published: 31 Jul 2011
views: 1522
1:23

WHAT IS A SPEC SCRIPT
TV Writer/Producer John May - Multiple Writer's Guild Award Winner...
published: 24 May 2009
author: wildcardpix
WHAT IS A SPEC SCRIPT
TV Writer/Producer John May - Multiple Writer's Guild Award Winner
published: 24 May 2009
author: wildcardpix
views: 991
4:01

Penn alum Hollywood writer's career: Spec scripts
A couple of weeks ago we met aspiring LA TV writer Rob Forman (W'06) and he told us about ...
published: 31 Jul 2011
author: duelingtampons
Penn alum Hollywood writer's career: Spec scripts
A couple of weeks ago we met aspiring LA TV writer Rob Forman (W'06) and he told us about his journey from Penn to LA, the agency he first worked at, and the TV shows on which he's been a writer's assistant. (www.duelingtampons.com In today's installment, Rob talks to us about the steps he's taking from being an aspiring writer to a "paid" writer. Listen to Rob talk about: -spec scripts and which TV shows he has written spec scripts for -what to do once you have finished a spec script -what has "fallen out of fashion" in terms of writing TV scripts -which popular writing competitions he has submitted to ...which you should as well! (and which one he was a finalist in!) -what he's working on now Also, be sure to check out the embedded spec scripts Rob has provided us to read in the link below:
published: 31 Jul 2011
author: duelingtampons
views: 190
2:11

The Spec Script
How movies are really made. Follow Peanut Attorney at: www.peanutattorney.com http www.twi...
published: 22 Feb 2012
author: PeanutAttorney
The Spec Script
How movies are really made. Follow Peanut Attorney at: www.peanutattorney.com http www.twitter.com
published: 22 Feb 2012
author: PeanutAttorney
views: 256
5:12

Chuck Lorre on writing a spec script for "The Golden Girls" - EMMYTVLEGENDS.ORG
See the full interview at www.emmytvlegends.org...
published: 05 Oct 2012
author: TVLEGENDS
Chuck Lorre on writing a spec script for "The Golden Girls" - EMMYTVLEGENDS.ORG
2:25

"Community" Spec Script by Erik Voss
A highlight reel of Erik Voss's spec script for the hit show "Community." The script, titl...
published: 27 Aug 2011
author: eavoss
"Community" Spec Script by Erik Voss
A highlight reel of Erik Voss's spec script for the hit show "Community." The script, titled "Advanced Physics of Tolkien," was staged in a live reading at the iO West Del Close Theater in Hollywood on August 21, 2011. In this episode, the group discovers a mysterious textbook that helps them cheat in a difficult class, but aren't prepared for when the book begins to corrupt their lives. Erik Voss is a writer and improv performer living in Los Angeles. He performs weekly at iO West. Erik's website: eavoss.com.
published: 27 Aug 2011
author: eavoss
views: 499
0:56

Everything You Ever Wanted to Know About Sitcom Spec Scripts (but Were Afraid to Ask) - 3/08/12
Michael McCarthy hosts a the workshop: Everything You Ever Wanted to Know About Sitcom Spe...
published: 01 Mar 2012
author: MichaelMcCarthyVids
Everything You Ever Wanted to Know About Sitcom Spec Scripts (but Were Afraid to Ask) - 3/08/12
Michael McCarthy hosts a the workshop: Everything You Ever Wanted to Know About Sitcom Spec Scripts (but Were Afraid to Ask) Thursday, March 8th from 5:00 pm - 7:00 pm at the Del Close Theater in Chicago Register by Phone: (773) 880-0199
published: 01 Mar 2012
author: MichaelMcCarthyVids
views: 303
1:44

DOES MY SPEC SITCOM SCRIPT HAVE TO BE IN A STANDARD FORMAT?
SitcomQuestions.com How important is it to use the standard television sitcom script forma...
published: 03 Aug 2011
author: shewasonly16
DOES MY SPEC SITCOM SCRIPT HAVE TO BE IN A STANDARD FORMAT?
SitcomQuestions.com How important is it to use the standard television sitcom script format when submitting a spec script to a producer or agent? Ken Levine with help for new comedy writers. Wondering what current show to write for your spec script? This video will help you www.youtube.com Be one of 20 lucky writers to attend Ken Levine's annual Sitcom Room: sitcomroom.com
published: 03 Aug 2011
author: shewasonly16
views: 406
2:41

Tim Minear - Screenwriting Expo '05 - on Spec Scripts
Tim Minear speaks at the Screenwriting Expo in 2005....
published: 26 Apr 2008
author: thescriptsource
Tim Minear - Screenwriting Expo '05 - on Spec Scripts
Tim Minear speaks at the Screenwriting Expo in 2005.
published: 26 Apr 2008
author: thescriptsource
views: 1344
1:25

TV SITCOM WRITING, WRITE A SPEC SCRIPT OR A PILOT?
SitcomQuestions.com If you want to break into TV sitcom writing, should you write a spec s...
published: 28 Jul 2011
author: whats1my200
TV SITCOM WRITING, WRITE A SPEC SCRIPT OR A PILOT?
SitcomQuestions.com If you want to break into TV sitcom writing, should you write a spec script or a pilot script to show to television comedy writing agents and producers? Emmy award winner Ken Levine (M*A*S*H, Cheers, Simpsons, Everybody Loves Raymond, Frasier) explains in this brief, informative video for any comedy writers interested in writing a sitcom. Also, check out another of Levine's videos that answers the question, "Just how funny does my tv sitcom spec script have to be??" View the video www.youtube.com
published: 28 Jul 2011
author: whats1my200
views: 649
32:41

IT'S ALWAYS SUNNY IN PHILADELPHIA MAC & DEE CURE CHILDHOOD OBESITY
Watch winning TV SPEC Screenplay from the WILDsound Screenplay Festival on April 28 2012. ...
published: 01 May 2012
author: wildcardpix
IT'S ALWAYS SUNNY IN PHILADELPHIA MAC & DEE CURE CHILDHOOD OBESITY
Watch winning TV SPEC Screenplay from the WILDsound Screenplay Festival on April 28 2012. Script by Matt McManus. Moderation by Jen Frankel This "It's Always Sunny in Philadelphia" script that focuses on food and weight loss. Mac and Dee run a fitness program at Mac's alma mater, while Frank and Dennis train Charlie for an eating competition.
published: 01 May 2012
author: wildcardpix
views: 4076
1:34

Mad Men Spec Scene - Bookstore
From the Spec Script, "Walking Distance", Written by Marc Scott Zicree Directed by Darren ...
published: 28 Nov 2011
author: janepetrov
Mad Men Spec Scene - Bookstore
From the Spec Script, "Walking Distance", Written by Marc Scott Zicree Directed by Darren Hafford Starring Jane Petrov and Jarret Wright Director of Photography -- Darren Hafford Sound - John Hoadley Editor - Darren Hafford Makeup -- Vivian Czo Stylist -- Sarana Mehra Production Assistant -- Matt Warner Production Assistant -- Jordan Pino Production Assistant -- Kate Drummond Original Music -- Andrea Wittgens Special Thanks - Counterpoint Records and Books Cast: Bette Draper -- Jane Petrov Don Draper -- Jarret Wright Background -- Kate Drummond Produced by: Barbara Bragg, Darren Hafford and Jane Petrov
published: 28 Nov 2011
author: janepetrov
views: 236
1:02

WILL YOU READ MY SITCOM SCRIPT OR MY SPEC SCRIPT?
SitcomQuestions.com Trying to break into the sitcom writing business and hoping to get est...
published: 17 Aug 2011
author: whereyou123
WILL YOU READ MY SITCOM SCRIPT OR MY SPEC SCRIPT?
SitcomQuestions.com Trying to break into the sitcom writing business and hoping to get established TV comedy writers to read your spec script or your pilot? Ken Levine explains the dilemma. Want to write sitcoms? Find out what it's like to be part of a real TV sitcom writing team at Ken Levine's annual Sitcom Room event sitcomroom.com
published: 17 Aug 2011
author: whereyou123
views: 323
2:00

Television Commissioners Gub Neal and Ben Stephenson on spec scripts
Commissioners of Television Drama, Ben Stephenson (BBC) and Gub Neal (Channel 4), talk abo...
published: 15 Mar 2011
author: scriptplusuk
Television Commissioners Gub Neal and Ben Stephenson on spec scripts
Commissioners of Television Drama, Ben Stephenson (BBC) and Gub Neal (Channel 4), talk about what is needed to commission a new drama and whether a spec script is necessary. For more screenwriting videos and clips from the London Screenwriters' Festival check out our channel and look out for the London Comedy Writers' Festival 2011. www.londoncomedywritersfestival.com
published: 15 Mar 2011
author: scriptplusuk
views: 335
Vimeo results:
29:57

The Bridge
The Vision:
Back in October of 2009, I set out to make a film that would push my talents ...
published: 10 Sep 2010
author: Marlon Torres
The Bridge
The Vision:
Back in October of 2009, I set out to make a film that would push my talents as both a storyteller and a filmmaker. I wanted to create a film that would challenge myself and my audience, meshing both classical and experimental storytelling techniques from music, books, & films that have inspired me in one way or another. I wanted to make a film that didn’t do any spoon-feeding, where my audience would leave with questions as well as answers. It was a long a difficult road to get to this point and there were days where I felt that I was in way over my head but eight months later, I can proudly say I’ve finally completed my film “The Bridge” and it was an experience I would never forget.
The Inspiration:
The story of The Bridge was a story a cousin had told me when I was eight years old. It was a ghost story about two siblings on a bridge. I remember it haunting me for weeks and causing many sleepless nights under my sheets. Obviously, it had a lasting influence in my life. It had always been one of those stories that I wanted to adapt into a short film so when the opportunity finally came one day, I decided to pull to trigger.
When I was in film school, I would constantly fantasize about making some sort of epic period piece, especially one that took place during WW2. So when I decided I was going to make The Bridge, I instantly followed it up with “hell, why not make it into a WW2 movie”? I could have easily made this film as a contemporary piece but where would the fun be in that? I never do things because it’s easy; I do it because it’s hard. I love a challenge. I figured I could keep the same characters, themes, motifs, style, and wrap it around a WW2 setting. So I did.
Pre-production:
So it began. After a quick outline, I started writing the screenplay and, being a one-man crew at the time, I also started doing work on costumes and props. I lived and breathed WW2 24/7. I watched every WW2 movie and documentary I could get my hands on. I even got my hands some real WW2 letters to get a grasp on the era’s language. I felt like a student again and I loved it. I scoured eBay for every WW2 field gear I could afford to buy and the stuff I couldn’t get, I had them custom made cheaply in China. I wanted it to be detailed and authentic as possible while keeping my almost non-existing budget down. I remember coming home one day and having almost a couple dozen eBay packages on front door. It looked like the front door of the post office.
Casting:
The casting of The Bridge was actually one of the smoothest aspects of the entire process. I first went to my good friend Amy and asked her if she would like to help me produce the film. Having worked with each other before, I didn’t really have to ask twice. She was happy to be my first recruit.
For the leading role, I asked my good friend Pablo Soriano to take the part. Having worked with him before, we have a good understanding of each other. He is just a naturally gifted actor and he makes my job as a director so much easier. Plus, his puppy dog eyes make him a perfect protagonist.
For the leading female role, I went looking for a girl who had beautiful, almost hypnotic eyes. That’s when I spotted Leah in one my good friend’s music video. I called up Carlos and basically told him, “I need to have that girl for movie”. A few days later, she was on board.
I owe the discovery of Mike, the character who plays James Connolly, to my producer Amy. She had read the script and recommended him. I remember her telling me “Mike IS James”. Words that any director would love to hear and as usual, Amy was right.
So a couple months later, the script was complete, the costumes and props were ready, and the cast was cast. We were ready to shoot!
Production:
With our extremely limited budget, I knew right from day one that we were going to shoot “The Bridge” on DSLRs, specifically the Canon 7D and 5D Mark II. With this in mind, I knew (as also the DP of the film), I was going to push these cameras to its limits. I wasn’t going to let my equipment limit my vision of the film. I knew at the very beginning that I may or may not have a crappy movie in the end but hell, it’s gonna look damn good! We all know about the camera’s limitations but I wasn’t going to bitch and moan about it, I was going to work around it. I took it as a personal challenge to make these cameras work and I did.
About 75% of the film was shot with the 7D and the rest with the 5DM2. The main reason I shot with the 7D more was the 24p firmware update wasn’t available for the 5DM2 during the bulk of the shooting. I prefer the 5DM2’s full frame sensor the 7D cropped sensor.
Production, like any other shoot, had its ups and downs. Ours was mainly San Francisco’s unpredictable weather. You can blink and the bay area can go from miserable foggy weather (which is what I wanted for the film) to perfect summer beach party weather.
Also, being
1:00

Darts at Lark Tavern - Albany, NY - 08, Dec
People playing darts at the Lark Tavern in Albany, NY.
Thank you for your patience, rando...
published: 27 Dec 2008
author: Sébastien B.
Darts at Lark Tavern - Albany, NY - 08, Dec
People playing darts at the Lark Tavern in Albany, NY.
Thank you for your patience, random serious people :)
This is my second video test with a Canon 5D Mark II, at a higher shutter speed this time, with the same Canon 50mm f/1.4. Once again, nothing interesting going on here, but an opportunity for me to describe my workflow in more details. Or lack thereof. Here are my first experiments taming the beast.
Update May 1st, 2010: THIS IS IT guys, Adobe released the Premiere Pro CS5 Trial today, and they delivered! I just installed it a few minutes ago, and CS5 plays full-resolution original 5DMII files out-of-the-box, no proxies needed, and that was in software mode only. I can only imagine how fast hardware-acceleration will be with one of the supported NVidia graphics card. This is great news and absolutely worth an upgrade.
Update November 12, 2009: Great news, Adobe's new playback engine, Mercury, looks fantastic and may just save us from those pesky proxies. Check this preview here: http://tv.adobe.com/watch/davtechtable/sneak-peek-at-the-new-adobe-mercury-playback-engine-technology/
Update January 01, 2009: Augment the "Create Proxy Files" section with a comparison between several codecs and several frame sizes.
Update January 30, 2008: Add a "About previews and pre-rendering" section.
Update January 29, 2008: I found out how to auto-scale low-res proxy files to the project's frame size, and updated this document accordingly. This fixes one major issue.
The issue:
--------------------
As I described in my first video test (http://www.vimeo.com/2624143), the amount of data captured by the 5D is hammering both my computers at home (see hardware specs at the end of this document). At 1920x1080p 30fps, the H.264 codec used by Canon seems to push about 39 Mbps of video down the pipe. Ugh. While I can *replay* the clips nicely from Quicktime or Windows Media Player, I'm not able to perform any native editing from Adobe Premiere CS4; the first few seconds play fine, but it's a complete halt soon after that, even in Draft mode. Basic tasks like trimming assets, tweaking ends points, adding and previewing transitions are out of my reach.
While this could be blamed on the H.264 MainConcept codec used in Premiere (ffmpeg's x264 in WMP and Quicktime's H264 codec replay fine), and/or my specs, I'm doubtful I will be able to do any serious work on native 5D's video files at full-res anyway, short of buying a very expensive rig and/or a compatible H.264 hardware decoder card.
One solution:
--------------------
This is, however, not a new problem; people have been dealing with high resolution files in the past through clever use of proxy files and offline editing:
http://en.wikipedia.org/wiki/Offline_editing
From what I understand, proxy files are alternate versions of your original clips, either re-encoded for faster access and/or resampled to a smaller, lower resolution frame size (preferably with the same aspect ratio). Editing, pre-viewing and draft rendering are performed using those proxies; once you are happy with the results, the final high-resolution movie is created by first replacing the proxies with the original full-res clips. Easy enough.
H.264 is not a slow codec per se, but the bitrate in the full-res 5D files is really high, at about 38.6 Mbps, about the same as a Blu-Ray DVD, more than a HD DVD. I'm not going to re-encode 1920x1080p clips using a different codec at full-res; a faster decoder would only mean more (i.e. less compressed) data. Not only would I end up with a huge amount of video but I'm actually not even sure either my hard-disks or Premiere could sustain that much. Storage is cheap, but at 1920x1080 30fps, this is still a lot of image processing going on. Resizing the clips to a lower 640x360 frame size seemed the way to go in my situation, and I'll describe shortly how I created my proxies and switched between full-res and low-res.
Now if that whole proxy switcheroo seems to make reasonable sense to me, why is it so tedious to set up in Adobe Premiere CS4? Granted, I'm new to Premiere, but from what I gather on Adobe's "About online and offline editing" help page, I'm not the only one to struggle:
http://tinyurl.com/9jzdhk
My workflow:
--------------------
Here is quick overview of my workflow:
0) Create proxy files for your original 5D clips (I'll go over this in a separate section, let's just stick to the workflow).
1) Create a new Premiere project. The "New Sequence" video and audio settings should match the settings of your original assets, i.e. your native 5DMII files, 1920x1080p @ 30fps. Check my detailed "New Sequence: Canon 5DMII native settings" preset at the end of this document.
2) Drop a few native 5D clips in the project. Important: do *not* put them in the timeline.
3) Switch to offline editing.
a) In the left panel, select all clips, right-click and select "Make Offline...". No deleting the originals! The full-res clips are now disconnected from your projec
2:22

Planet Implosion Breakdown
Breakdown of a planet implosion that I worked on while at Blur Studios. It was created in ...
published: 09 Jun 2009
author: Mark Theriault
Planet Implosion Breakdown
Breakdown of a planet implosion that I worked on while at Blur Studios. It was created in 3 weeks and done in 3dsMax.
Specs:
-Hand cut planet peices with MBFracture
-All destruction done in Pflow with a script from Bobo that places geo to particle location.
-Fire and smoke done with FumeFX
-Rendered with variety of solutions (vray,scanline,mentalray,krakatoa).
-Krakatoa was used for dust and etheral effects.
6:19

Unconditional
How far would you go in search of true love?
A scene from the feature film script 'Uncond...
published: 28 Jun 2011
author: Ravi Vora
Unconditional
How far would you go in search of true love?
A scene from the feature film script 'Unconditional' written by Melinda Cohen.
Starring Melinda Cohen and Adam Roa
Director / Editor / DP: Ravi Vora (http://twitter.com/ravivora)
Producer: Melinda Cohen
Sound: Patrick Murphy
Spec music by The Tallest Man on Earth and Michael Giacchino.
Tech specs:
Camera: Canon 5DmkII
Lenses: Canon 50mm f/1.4, Canon 24-70mm f/2.8L, Canon 70-200 f/2.8L
Picture Style: Technicolor CineStyle
Edited in Final Cut Pro
Colored with Red Giant Magic Bullet Colorista II
http://ravivora.com / http://melindacohen.de
Youtube results:
2:04

Comedy Lab Starts April 14 2012
Saturday, April 14th 11:30-3pm Talk Show Portfolio Class Saturday, April 14th 3-6:30pm SNL...
published: 11 Apr 2012
author: comedylabus
Comedy Lab Starts April 14 2012
Saturday, April 14th 11:30-3pm Talk Show Portfolio Class Saturday, April 14th 3-6:30pm SNL Sketch Packet Class Sunday, April 15th 11:30-3pm Sitcom Spec Script Class Sunday, April 15th 3-6:30pm TV Pilot Presentation Class Michael McCarthy's Comedy Lab at The iO West Call (323) 962-7560
published: 11 Apr 2012
author: comedylabus
views: 202
2:57

Mad Men Spec Scene - Hotel Bar
From the Spec Script, "Walking Distance", Written by Marc Scott Zicree Directed by Darren ...
published: 28 Nov 2011
author: janepetrov
Mad Men Spec Scene - Hotel Bar
From the Spec Script, "Walking Distance", Written by Marc Scott Zicree Directed by Darren Hafford Starring Barbara Bragg and Jarret Wright Director of Photography -- Darren Hafford Sound - John Hoadley Editor - Darren Hafford Makeup -- Vivian Czo Stylist -- Sarana Mehra Production Assistant -- Matt Warner Production Assistant -- Jordan Pino Production Assistant -- Kate Drummond Special Thanks - M Bar Cast: Agnes Wainwright -- Barbara Bragg Don Draper -- Jarret Wright Bartender -- Joshua Davis Background -- Kate Drummond Produced by Barbara Bragg, Darren Hafford and Jane Petrov
published: 28 Nov 2011
author: janepetrov
views: 236
3:49

The Daily Show Writers - Tips for Aspiring Writers
Audience member asks for advice from the panel on how to be a comedy writer or performer. ...
published: 04 Apr 2012
author: paleycenter
The Daily Show Writers - Tips for Aspiring Writers
Audience member asks for advice from the panel on how to be a comedy writer or performer. Daily Show correspondents John Oliver and Wyatt Cenac advise him to do stand up and Daily Show writers DJ Javerbaum, JR Havlan, and Jason Ross say to write spec scripts. For more information on this event, please visit www.paleycenter.org ABOUT THE PALEY CENTER: In an era of rapid change in media and technology, the not-for-profit Paley Center for Media explores the evolving ways in which we create, consume, and connect through media. With locations in New York and Los Angeles, and the foremost public archive of television and radio programming, the Paley Center produces and curates programs, forums, and educational activities that engage the general public, industry professionals, and the creative community in an ongoing conversation about the impact of media on our lives. The Paley Center for Media is a hub of innovation and connection for entrepreneurs, investors, and consumers with its finger on the pulse of the next big thing in media. Go to www.paleycenter.org to learn more.
published: 04 Apr 2012
author: paleycenter
views: 3224
5:33

Escape My Life - EPISODE 2: Yesterdead
Skylar learns that she's unwittingly signed into a program in which Barry is with her, 24/...
published: 26 Sep 2012
author: fordescape
Escape My Life - EPISODE 2: Yesterdead
Skylar learns that she's unwittingly signed into a program in which Barry is with her, 24/7, to act as her product specialist and "report" on their experiences with the Escape. But she quickly discovers that Barry isn't just going to be a passive piece of "extra luggage" in her life -- starting with his insistence that she and everyone she works with read his spec script "YESTERDEAD" (about time-travelling zombies) and finishing with the director of an underwear commercial insisting Barry replace the model in the shoot. Barry also explains the available SYNC® with MyFord Touch® system.
published: 26 Sep 2012
author: fordescape
views: 17201