Yaiy...  High-end dapet tawaran buat bkin film indie nih folks, tema bebas, berhubung project ini untuk tugas akhir anak sma(man) jadi sya buat ide-nya yang memiliki pesan moral, hoho, tenang pasti dong ada happy ending-nya, yang berakhir manis, semanis gula aren, lol.
Ok deh, langsung ke synopsys-nya ya ...

"UDIK IN LOVE"

Septian adalah anak yatim piatu yang tinggal sebatang kara, orang tuanya meninggal beberapa tahun yang lalu tanpa meninggalkan apapun untuknya, yang membuatnya harus bekerja tiap usai sekolah, beruntung dia mendapat beasiswa dan hanya butuh uang untuk membiayai kehidupannya sehari-hari.
Tristan, seorang anak orang kaya yang suka nge-bully Septian bersama teman satu kelasnya.
Hingga pada suatu hari, seorang gadis cantik jelita yang ramah dan baik yang bernama Mika pindah ke sekolah mereka, dan kesempatan berpihak kepada Septian ketika mereka harus bekerja sama untuk menyelesaikan tugas duet untuk kelas musik.
Apa yang terjadi ketika Tristan-pun menaruh hati pada Mika? 
Bagaimana reaksi Mika terhadap Septian? 

Hey foks, HEP lg ada tawaran untuk membuat company profile, kita sedang buat demo videonya, kalau client kita suka, kita bakal deal untuk membuat video iklan dan company profile dari perusahaan tersebut, doanya ya foks.

Scene Heading

A short description of the location and time of day of a scene, also known as a "slugline." For example: EXT. MOUNTAIN CABIN - DAY would denote that the action takes place outside a mountain cabin during daylight hours.

example : INT. BEDROOM - MORNING
EXT. LAS VEGAS STRIP - SUNSET
INT. OFFICE - NIGHT - CONTINUOUS ACTION
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
EXT. PASADENA - ROSE PARADE - STOCK FOOTAGE

Keeping Scene Headings consistent allows your reader to recognize locations and places and not have to figure out if this is a new set (location). You don't want to take the reader's mind off your story, ever.

Here is a sample in Scene Heading sample in script form:

FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING

Action

FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
INT. MASTER SUITE - MORNING
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and grins
at Julie's naked body. Suddenly, Frankie recoils.
There's a devil tattoo on her shoulder that he's never seen before.
INT. MASTER SUITE - MORNING
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.
FRANKIE

Dialogue

DIALOGUE rules apply when anyone on screen speaks. During a conversation between characters. When a character talks out loud to himself... even be when a character is off-screen and only a voice is heard.
INT. MASTER SUITE - MORNING
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.
FRANKIE
Rise and shine, Bluebird. Time
to spread your wings and fly.
FRANKIE
(wryly)
Good mornin', Bluebird.
JULIE
(sleepily)
What? What time is it?
FRANKIE
(getting out of bed)
After six. You're gonna be late
again and I don't want to hear
it.
Parentheticals are also used in some scripts as the (continuing) notation. If a character is speaking followed by an action line and then the same character continues speaking, this notation can be used, but the New Spec Script frowns on all such superfluously inserted notations.
FRANKIE
(getting out of bed)
After six. You're gonna be late
again and I don't want to hear
it.
Frankie pulls all the covers off of Julie. She sits up in bed, pulls on a long
T-shirt, then swings her legs onto the floor and shuffles off to the bathroom.
FRANKIE (CONT'D)
You're welcome.

Extensions

Frankie pulls all the covers off of Julie. She sits up in bed, pulls on a long
T-shirt, then swings her legs onto the floor and shuffles off to the bathroom.
FRANKIE
(continuing)
You're welcome.
(beat)
Hey, how long you gonna be? I've
got a meeting and I need to
shower.
JULIE (O.S.)
Twenty minutes.
FRANKIE (V.O.)
I knew I wasn't gonna get in
that shower for at least 45
minutes, so I went for a run.

Transition

Frankie pulls on a pair of shorts, slips into some running shoes and exits.
CUT TO:
A PRISONER shoves a homemade shiv against the throat of a PRISON GUARD.
PRISONER
(trembling)
I'll kill him! I mean it.
PRISON GUARD
Take him out! Now! Do it!
ANGLE ON - A PRISON GUARD SHARP-SHOOTER
as he lines up the shot, finger poised on the trigger.
PRISONER
I want to talk to the Warden. NOW!
INSERT - RANSOM NOTE

We have 'established' that we're in a marina at dawn.
The moving pictures we see on screen. Also, the direction given by a director indicating that filming begins.

Every moment in a screenplay takes place NOW. Use the active voice (a window slams shut) not the passive voice (a window is slammed shut).

Always write in PRESENT TIME, not the past. (There are rare exceptions to this; for example, John Milius' The Wind and the Lion had description in past tense like a novel, but then, he also directed the film.)
Keep your paragraphs short... don't let them go on and on over 4 or 5 lines. The reader may scan long action paragraphs without really reading them.

The reader begins to form an idea about the setting and the action taking place. We know we're on a boat, two characters have been introduced to us, we have some idea about their physical appearance. And we have a clue to their relationship.
Avoid a compulsion to write camera angles and shots. If you must emphasize some shot, write it on a single line. Angles and shots are the domain of the director an will likely be added in the Shooting Script.

Character Name

When any character speaks, his or her name appears on the line preceding the dialogue. In screenplays, the name is tabbed to a location that is roughly in the center of the line. In playwriting, typically the name is centered, but with the advent of screenwriting software that automatically positions the character name correctly, it has become acceptable to use a similar format for character names in stageplays.
The speeches between characters in a film or a play.
The Rules:
DIALOGUE margin is indented 2.5" from the left margin. A line of dialogue can be from 30 spaces to 35 spaces long, so the right margin is a bit more flexible, usually 2.0" to 2.5".

Parenthetical

Also known as a "wryly" because of the propensity of amateur screenwriters to try to accent a character's speech -- as in BOB (wryly) -- an inflection to a speech noted by a writer. Of course, in stageplays, all stage directions (at least in Manuscript Format) are in parentheses, but "directing off the page," as it's often called, is equally frowned upon.

It indicates that the character continues speaking throughout the action.

An Extension is a technical note placed directly to the right of the Character name that denotes HOW the character's voice will be heard by the audience. An Off-Screen voice can be heard from a character out of the camera range, or from another room altogether.

Some writers use O.C. (off camera) in place of O.S. The "beat" used above simply denotes that Frankie pauses (perhaps formulating his next thought) before uttering his next bit of dialogue.

Another common extension is V.O. That stands for Voice Over. Think of a V.O. as a narration, or a character speaking while s/he isn't in the scene. Or s/he can be in the scene, but also acting as narrator, reflecting on and describing some time gone by. This dialogue is recorded and then laid in over the scene in editing. 
Our character Frankie is reminiscing about the morning on the boat in a Voice Over. 
A script notation denoting an editing transition within the telling of a story. For example, DISSOLVE TO: means the action seems to blur and refocus into another scene, and is generally used to denote a passage of time.

Transitions you may be familiar with are:

CUT TO:
DISSOLVE TO:
SMASH CUT:
QUICK CUT:
FADE TO:
FADE OUT (never at the end of the script)

The only time to use a Transition in a spec script is if it's integral to telling the story. For instance, you might use a TIME CUT: to indicate passage of time. More commonly, a DISSOLVE TO: indicates that time has passed. Or, you might need to use MATCH CUT: if you want to illustrate that there is some correlation between something we just saw and something in the new scene. The point is, unless you become quite skilled in screenwriting don't use these things unless absolutely necessary, because the director of the film will probably think of something different.

Shot

What the camera sees. For example, TRACKING SHOT would mean that the camera is following a character or character as he walks in a scene. WIDE SHOT would mean that we see every character that appears in the scene, all at once.
A SHOT tells the reader the focal point within a scene has changed. Here are some examples of shots:

ANGLE ON --
EXTREME CLOSE UP --
PAN TO --
FRANKIE'S POV --
REVERSE ANGLE --

Once in a while, calling a shot is necessary. You want the reader to see something not obvious in the scene or you want to achieve a particular emotion or build to a climax. This device allows you to achieve this goal.

If you are describing a prison riot, with a prisoner holding a guard at knifepoint, and you want the audience to see a sharpshooter aiming at the prisoner, you might use a shot like this:
Another shot used from time to time is INSERT. INSERT is used solely as a direction - to focus on something integral to the scene, often something that the audience needs to read or what would otherwise be too small to be clearly seen in a full, wide scene.

A well-constructed action paragraph or a single line might achieve the same goal without distracting the reader. Be vigilant of the flow of the story, and try not to interrupt it.

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The format 
is structured in a way that one page usually equates to one minute of screen time. In a "shooting script", each scene is numbered, and technical direction may be given. In a "spec" or a "draft" in various stages of development, the scenes are notnumbered, and technical direction is at a minimum. The standard font for a screenplay is 12 point, 10 pitch Courier.
The major components are action and dialogue. The "action" is written in the present tense. The "dialogue" are the lines the characters speak. Unique to the screenplay (as opposed to a stage play) is the use of slug lines.

The format consists of three aspects:
1. The interplay between typeface/font, line spacing and type area, from which the standard of one page of text per one minute of screen time is derived. In the United Statesletter size paper and Courier 12 point are mandatory; Europe uniformly uses A4 as the standard paper size format, and has no uniform font requirement.
2. The tab settings of the scene elements (dialogue, scenes headings, transitions, parentheticals, etc.), which constitute the screenplay's layout.
3. The dialogue must be centered and the names must be capitalized. A script usually begins with "FADE IN:", followed by the first scene description. It might get more specific, e.g. "FADE IN ON AN ECU of Ricky as he explains the divorce to Bob." A script will usually end with "FADE TO BLACK", though there are variables, like "CUT TO BLACK" for abrupt endings.

The style consists of a grammar that is specific to screenplays. This grammar also consists of two aspects:
1. A prose that is manifestation-oriented, i.e. focuses largely on what is audible and what is visible on screen. This prose may only supply interpretations and explanation (deviate from the manifestation-oriented prose) if clarity would otherwise be adversely affected.
2. Codified notation of certain technical or dramatic elements, such as scene transitions, changes in narrative perspective, sound effects, emphasis of dramatically relevant objects and characters speaking from outside a scene.

Types
Spec screenplay
A 'spec' or speculative screenplay is a script written to be sold on the open market with no upfront payment, or promise of payment. The content is usually invented solely by the screenwriter, though spec screenplays can also be based on established works, or real people and events.

Commissioned screenplay
A commissioned screenplay is written by a hired writer. The concept is usually developed long before the screenwriter is brought on, and often has multiple writers work on it before the script is given a green-light.

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Mari kita menebak. Film yang kita sukai adalah yang paling menampilkan karakter yang melanda kita, yang memikat emosi kita, membuat kita merasa ikut terlibat. Kita para penonton melihat film tidak hanya ingin menjadi tertarik dan peduli tentang karakter yang kita lihat di layar TV, kita ingin menjadi bergairah tentang karakter mereka, tak perduli kita menyukai karakter mereka atau tidak. Karakter pahlawan yang bisa menginspirasi kita, karakter penjahat yang benar-benar membuat kita ingin melompat ke layar TV kita!


Selalu ada sesuatu yang dipertaruhkan dalam film yang baik. Tidak hanya sesuatu yang orang inginkan, sesuatu yang harus dicapai, apapun resikonya, seperti di film "Indiana Jones and the Raiders of the Lost Ark". atau sesuatu yang sangat diinginkan oleh kebanyakan dari pemain utama, seperti "Patung hitam kecil" dalam film "The Maltese Falcon". Kadang-kadang bisa menjadi hal yang tidak berwujud, seperti "kebebasan dari orang-orang" dalam film "Lawrence of Arabia" atau "Gandhi". Semua hal ini mendorong cerita mengarah pada pencarian karakter, bahkan memberikan sang pemain utama kekuatan super. Hal ini dapat menjadi sesuatu yang personal (asmara) atau untuk kebaikan semua (menyelamatkan dunia dari alien) tapi cerita dari film tersebut harus kuat dan semakin berkembang dengan terungkapnya masalah dari cerita film tersebut.


There are always obstacles, which provide that catchword that actors love so much -- CONFLICT. This is the heart of drama. Someone wants something and people and things keep getting in the way of them achieving the goal. At times, the obstacles can be common to both the hero and villain, and the ultimate goal a laudable one for both parties, as in Jingle All The Way. In that film, Arnold Schwarzenegger and Sinbad battle to achieve the same goal--the acquisition of the last popular action figure for sale that Christmas season. Both of them have promised their son, and they must not fail. Conflict and obstacles can be physical or emotional. But they have to be in your story or you don't really have a story. In most good stories, the protagonist will also have an inner obstacle, some mental or even spiritual problem, that will be resolved by the time s/he reaches the outward, physical goal of the story. Some people call this inner demon a "ghost," while others call in a "wound."


Kita membutuhkan sebuah "Kait". Itu istilah penulisan lagu yang menggambarkan bahwa "hal yang menarik perhatian publik". Sebuah istilah populer Hollywood adalah "konsep tinggi/high concept." Sebuah ide yang lebih baik mungkin sederhana "Bagaimana jika?/what if?" Dalam Galaxy Quest , misalnya, konsepnya adalah "Bagaimana jika mantan aktor dari sci-fi TV show yang di batalkan, di tarik ke sebuah perang yang nyata di angkasa luar oleh para alien yang berfikir bahwa video dari TV show mereka adalah dokumentar?" sebuah "Bagaimana jika?" yang bagus akan membuat orang-orang lebih memilih untuk pergi ke bioskop untuk menonton film kita dari pada duduk dirumah.

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Screenplay atau Script atau Skenario, adalah gambaran singkat dari cerita Film/serial TV yang akan dibuat. Screen Play ditulis dengan menggunakan bahasa yang mengandung bahasa visual (deskripsi visual-red). singkatnya, Screenplay adalah pedoman awal untuk membuat/mambangun sebuah Film/Serial TV.

Screenplay/skenario bisa saja karya orisinil/original atau adaptasi dari sebuah karya tulis dari penulis lain. Dalam screenplay terdapat deskripsi gerakan, aksi, ekspresi dan dialog dari karakter, semuanya ditulis secara detail dalam kalimat narasi.

Contoh :

Pagi yang cerah, April berlari menyusuri aspal kering, mendengarkan lagu dari MP3 playernya. 

Sepanjang jalan April terlihat memikirkan sesuatu selama ia berlari, April berlari seolah-olah dia ingin melepaskan beban di pundaknya, sampai dia merasa sesak untuk mengambil napas, dan masih terus berlari.

(handphone berdering)

APRIL

(melepas Headset, mengangkat telepon)

Halo?

(sambil sedkit terengah)

IBU (O.S.)

(terdengar agak panik)

Pril, Dika.

APRIL

(dengan ekspresi lelah)

Ya aku kesana sekarang bu.

(melanjutkan berlari)

jadi di dalam screenplay, kita jelaskan detail dari adegan yang akan diambil dan apa yang harus dilakukan oleh aktor, ekspresi apa yang harus ia mainkan.

oleh : Moe Dhyvha Naini

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High End memiliki artian High : Besar, End : Akhir, ujung, tujuan, penutup.
Nama High End dipilih karena arti peribahasa dibalik nama High End yang menurut kami sesuai dengan maksud kami mendirikan HEP, yaitu HEP bertujuan menjadi besar dan karya HEP bisa di kenal dan menginspirasi  banyak kalangan.
Logo HEP memiliki gambar orang yang berlari menuju ke titik dimana ujung dari logo adalah kesuksesan yang akan diraih dengan usaha yang besar/keras.