Filmmaking is a collaborative effort, so it’s necessary to have a software that matches the art.
Whether working with a friend on feedback or brainstorming with a development exec, the rewriting and development process can be streamlined by giving users access to the same script for changes.
Writing teams will no longer have to trade scenes and then retroactively blend the two voices together – now the best of every writer on the team will be included in the draft immediately.Įven for writers who don’t traditionally work in teams, this feature can be a huge advantage. The real time collaboration allows for writers to work on scenes together from anywhere in the world. This has been a long desired feature and is introduced in a truly effective way.įor the writers who work with writing partners, this feature will completely revolutionize the way they create their screenplays. By having outlining tools in the same program as the script itself, it helps writers flow more smoothly from the beats of the story to the completion of the script. The creation of beats is a double-click and type mechanism, and a writer can drag, drop, and move around their story without issue. Now that it’s in the software, writers don’t have to cover the kitchen table for days on end. It is the simplest, most intuitive way to beat out a story that exists shy of using Post-it notes. One of the greatest new elements of Final Draft 10 is the beat sheet. The learning curve on Final Draft 10 is about the same as the learning curve of switching from a pencil to a pen – writers who’ve been using Final Draft will jump right into the new software. What’s great about the newness of Final Draft 10 is in its simplicity. Final Draft 10 has many of the same features longtime users of the software will be familiar with – fixed formatting, character reports, statistical reports, auto-fill, and more – but also adds a few very key features to the slate. Final Draft 10 embodies the old Hollywood mantra of “same, but different”.