1. From Script to Recording

2. PSA script Do research: interview based on your characters/ treatment / script. Ask about their problem (related to your script); The interview should have inspired you The interview could validate your idea or concept USE YOUR NETSIM CONCEPT Use OBJECTIVE AS WORDED

3. PSA Script Write your script drafts Does your script meet your objective?

4. PSA SCRIPT Does the script follow the AIDA framework Is it PSA/Drama? Is the situation clear? Does it develop the story? Does the punchline, punch? … the line or thought that you would like to leave with your audience?

5. PSA SCRIPT Is it hardsell? Is it realistic? Is it a novelty? Does your PSA have a clear plot / conflict that brings out the point of your PSA? Is the plot common, unique, promising?

6. PSA Script Does your cast have characterizations? Flat or 2 dimensional 3 dimensional, real Are their lines and actions consistent? DID YOU REACH YOUR TARGET AUDIENCE?

7. PSA Script Are the dialogues conversational, natural? Are the lines succinct? Short, apt but memorable Acts and segments move ahead: beginning middle end. DID YOU REACH YOUR TARGET AUDIENCE?

8. PSA script Provide interesting yet CONSISTENT characterizations. Being “In character?” Are the Actions and dialogues of your character consistent with your characterizations? Characters can represent the problem or a side of the problem, or an issue. – Character speaking? (Or you speaking?)

9. PSA SCRIPT Did you show (actions, sound) or, did you just tell (words) ? Did you follow the requirements of your PSA for the ratio of sound elements? Is it creative? Is the approach standard, or did you try something else original? Does work reflect your push for excellence? (Pwede pa, instead of just, pwede na?)

10. SCRIPT DRAFTS Process of revisions….

11. Script to Recording

12. The script is the foundation of your PSA DRAMA. If the script is flawed, the PSA Drama recording MAY also be flawed. Ergo, the PSA drama directing is crucial.

13. DIRECTING the PSA

14. The Director Interprets the script and translates it into a creative final product; Has full control and command of the production execution/implementation;

15. DIRECTING THE PSA Pre recording Use Directorial Prerogative Artistic License: The director may change elements of the script BUT the essence of the script remains. (It should still be recognizable as the writer’s work).

16. DIRECTING THE PSA Pre recording Use Directorial Prerogative Adjust the script as needed, but make sure you still meet your objective. Your grade for scripting, (non-submission, non-meeting of the objective) is different from your grade as a director; you may adjust the script with your director’s prerogative – for your director’s grade.

17. DIRECTING THE PSA Pre recording Evaluate the PSA script and determine the treatment appropriate for your objective and audience; Choose appropriate music/sfx; pre record the needed sounds / biz

18. PSA REQUIREMENTS Music – 2 1 Live SFX (to be done during recording) 1 BIZ pre recorded Dialogue : max is 15 seconds Additional SFX is Recorded SFX (pre recorded SFX) - No use of Canned SFX

19. DIRECTING THE PSA Show, don’t tell. Show through music, effects Show ACTIONS than dialogues

20. DIRECTING THE PSA Pre recording Do your casting (choice of performers): choose according to roles and capabilities Arrange for a script reading session with your talents so you can inform them of your interpretation of the characters; motivate them by telling them of the characterizations

21. DIRECTING THE PSA During the Run Through Recording Use the commands to communicate with your team; Be deliberate in your commands; Direct your team: directorial decision making is expected of you for the talent delivery, sound levels, and rhythm/timing; Make sure you are 30 seconds.

22. RECORDING Commands Quiet on the Set Standby for Practice / Recording (to mixer) Record, (Mixer: Recording) ID (Talent: Title: ____ Take ___) (to mixer) Countdown (Mixer:5,4,3,2…) (Cue) Cut Review Start From the Top / Good Take That’s a Wrap!

23. IMPORTANT If you choose to say GOOD TAKE! IT’S A WRAP I will take that to mean, that particular recording is a good take, and I will evaluate you accordingly: No further recording will be expected of you.

24. Drama production... Delivery of lines: “natural”, conversational. Don’t write readable lines – essay for the eyes, but just words for the ears--. Your audience won’t read your script. They will hear cues for their imagination.

25. DIRECTING THE PSA Post recording Music/Sound Effects Technicals: Corrections, levels, etc. Editing Rhythm, pace…

26. Production TO DOs After your script has been approved, practice a run through with your team Early approval, early recording PSA recording : run through: Director’s commands, etc. March 10-22 PSA Recording is Pass or Fail: Pass means a PSA grade of 2.0 with maximum potential of 4.0 after post prod; Fail means a PSA grade of 1.5 with maximum PSA grade potential of only 2.5

27. Write : PSA-DRAMA SCRIPT ONGOING PROCESS, e-mail Submit before: FINAL first draft due (GRADE) Feb 3 FINAL SCRIPT DUE Feb 22 Your Script at this point will be evaluated as your final script grade

28. DIRECT : PSA-DRAMA SCRIPT A51 March 10:8-10/4-7 R (MU3/31) March 17:8-11 reg March 22: 8-11: (MU4/7) March 24:8-11 reg class A52 March 10:4-7 March 17:1-4 reg class 4- 7 (mu 4/7) March 24:1-4 reg class A53 March 21: 8-11 regular class March 22: 11-2, 2-5 (MU3/28, 4/4)

29. Make sure I acknowledge receipt of your submissions.