Are transitions and camera directions needed in a script that you send to a producer or enter into a competition?

No, actually they are frowned upon.

Theyre actually not desired in spec scripts (which you submit to producers and competitions).


Phil

From what I hear that's a big no-no. If you want to know what your script should and shouldn’t include; check out the scripts written by: Bert, George, Kevan or Allan.

Transitions and camera directions remove the reader from the story and remind him/her that they're reading a script. Books don't need these things, so scripts don't either, since you're essentially writing a readable (not shootable) version of the script.

I tried to find this subject on this thread but did not find anything. If there is something, I appologize for starting this thread. I have question if the sort of transition that I am attempting in these two scenes is allowed in screenwriting.  

INT. TAXI CAB

The car doors UNLOCK.

Nelson breaks lip action and sees that the driver seat is empty.

White light shines brightly from behind, blinding everything.

A loud ROAR of a B-747 United engine sounds.  

INT. AIPPORT – ARRIVALS&DEPARTURES AREA - NIGHT

A sign reads “JAROD BAXTER”; it is held by a chauffeur.


Gabe

I believe the big no-no in screenwriting is using big fancy transitions like DISSOLVE TO, CUT TO, TRANSITION TO, etc.  Ya know, all the stuff you put on the right side at the end of a scene of a shooting script and what not.

The way it's written now I believe is fine since you work it into the description.  And it works too.  Nothing horribly complicated.

Thanks Greg. I like to confirm material. The reason I ask is because I repeat this sort of transition several times in the beginning so...Thanks again.

Gabe

Yes, the way you have it written is perfect. I understood that in classic movie style, a sound from the following scene is serving to pave the way between the taxi and the airport. Works just fine.

Thank you George. I've gotten something perfect and I don't have to edit other parts that repeat this sort of style. Hopefully my script ends up reviewed the same way. lol.

Gabe

I have these two scenes that have an essential dissolve between them.  It is the same location a bit later.  Do you think it is ok to use the DISSOLVE TO: transition?

Also I have someone in voice over during the dissolve.  Should I put the voice over at the end of the first scene or at the begining of the next?

end of scene
voice over?
                DISSOLVE TO:
INT. NEXT SCENE

?

I fail to see why Dissolve would be a cruical to use in your screenplay, but I tjink if you really must use it, use it.

If you really need the Dissolve To: then what you have above will suffice or you can try:

action/description
                     DISSOLVE TO:
INT. SCENE HEADING
action/desctrption
          VOICE OVER


Stew

Dissolves are one of those things that are best used very sparingly.  And only if you have a darn good reason for it -- like one image dissolving into another -- and nothing else will do.

You should never "Dissolve" for no reason.  That is a "for sure" rule.

As to your voice over question, all you need is a pair of ellipses.

Like this:

EXT. FAIRGROUNDS - DAY

A large, spinning Ferris wheel.

          GUY (V.O.)
     Now, for some reason...

                                         DISSOLVE TO:

A SLOW ROLLING TRACTOR TIRE

Revolving much like the Ferris wheel.

          GUY (V.O.)
     ...I am going to discuss farming.

Carry on, Bert. You've got until Saturday to write me a mystery about farming. Otherwise I'm just gonna steal The Farm and strip it down to 15 pages.

As for the dissolve, I wouldn't say it always has to be a matching image, it's also used to suggest a passage of time, but the technique is really in the realm of the director. If you just want to show a passage of time at the same location, I'd go for the simple option:

INT. OFFICE - DAY

Martin stares blankly at the blinking cursor on the screen.

INT. OFFICE- LATER

The cursor still blinks, Martin still stares, the page is still blank.

He crushes out his cigarette in the overflowing ashtray and curses under his breath.

As for the voice over, I'd do it pretty much like Bert's example. I noticed in the Lost scripts they use (prelap) after the character's name if they're cutting to a scene where the character is actually talking i.e. not voice over. I haven't seen that used anywhere else though.

The simple option is always the best as far as I'm concerned.