Sample NDA for reference

     ** A general Non-Disclosure Agreement for a specific project **


This AGREEMENT is made by and between ____________________. (the "Company")
and _______________ (the "Recipient") effective as of ______________, 1997.

Project Reference: Information related, but not limited to, development
projects and assignments to be performed by the Recipient for the Company.

The Company possesses competitively valuable Confidential Information (as
hereinafter defined) regarding its current products, future products,
research and development, and general business operations. Recipient may
enter or has entered into a business relationship with the Company and in
connection therewith may need to review or use the Company's Confidential
Information and Materials or to create new Confidential Information and
Materials for the Company. In consideration of the promises and covenants
contained in this Agreement and the disclosure of Confidential Information
and Materials from the Company to the Recipient, the parties hereto agree
as follows:

1. Confidential Information and Materials

(a) "Confidential Information" shall mean any nonpublic information
that the Company specifically marks and designates, either orally or in
writing, as confidential or which, under the circumstances surrounding
the disclosure, ought to be treated as confidential or which the
Recipient creates or produces in the course of performing services for
the Company. "Confidential Information" includes, but is not limited to,
product schematics or drawings, descriptive material, specifications,
software (source code or object code), sales and customer information,
the Company's business policies or practices, information received from
others that the Company is obligated to treat
as confidential, and other materials and information of a confidential

(b) "Confidential Information" shall not include any materials or
information which the Recipient shows:
(i) is at the time of disclosure generally known by or available to
the public or became so known or available thereafter through no
fault of the Recipient; or
(ii) is legally known to the Recipient at the time of disclosure by
the Company; or
(iii) is furnished by the Company to third parties without
restriction; or
(iv) is furnished to the Recipient by a third party who legally
obtained said information and the right to disclose it; or
(v) is developed independently by the Recipient either before or
after the term of the Recipient’s engagement as a consultant or
independent contractor to the Company where the Recipient can
document such independent development.

(c) "Confidential Materials" shall mean all tangible materials
containing Confidential Information, including without limitation
drawings, schematics, written or printed documents, computer disks,
tapes, and compact disks (CD), whether machine or user readable.

2. Restrictions

(a) Recipient shall not disclose any Confidential Information to third
parties without the prior written authorization of the Company.
Notwithstanding the foregoing, Recipient shall not at any time disclose
to any third party any Confidential Information comprising a trade
secret of the Company or any Confidential Information of any other party
to whom the Company owes an obligation. However, Recipient may disclose
Confidential Information in accordance with judicial or other
governmental orders, provided Recipient shall give the Company
reasonable notice prior to such disclosure and shall comply with any
applicable protective order or equivalent.

(b)Recipient shall not use any Confidential Information or Confidential
Materials of the Company for any purposes except those expressly
contemplated hereby or as authorized by the Company.

(c) Recipient shall take reasonable security precautions, which shall
in any event be as great as the precautions it takes to protect its own
confidential information, to keep confidential the Confidential
Information. Recipient may disclose Confidential Information or
Confidential Materials only to Recipient's employees or consultants on
a need-to-know basis. Recipient shall instruct all employees given
access to the information to maintain confidentiality and to refrain
from making unauthorized copies. Recipient shall maintain appropriate
written agreements with its employees, consultants, parent,
subsidiaries, affiliates or related parties, who receive, or have access
to, Confidential Information sufficient to enable it to comply with the
terms of this Agreement.

(d) Confidential Information and Confidential Materials may be
disclosed, reproduced, summarized or distributed only in pursuance of
Recipient's business relationship with the Company, and only as
otherwise provided hereunder. Recipient agrees to segregate all such
Confidential Materials from the confidential materials of others to
prevent commingling.

3. Rights and Remedies

(a) Recipient shall notify the Company immediately upon discovery of any
unauthorized use or disclosure of Confidential Information or
Confidential Materials, or any other breach of this Agreement by
Recipient, and will cooperate with the Company in every reasonable way
to help the Company regain possession of the Confidential Information
and/or Confidential Materials and prevent further unauthorized use or

(b) Recipient shall return all originals, copies, reproductions and
summaries of Confidential Information and/or Confidential Materials then
in Recipient's possession or control at the Company's request or, at
the Company's option, certify destruction of the same.

(c) Recipient acknowledges that monetary damages may not be a sufficient
remedy for damages resulting from the unauthorized disclosure of
Confidential Information and that the Company shall be entitled, without
waiving any other rights or remedies, to seek such injunctive or
equitable relief as may be deemed proper by a court of competent

(d) The Company may visit Recipient's premises, with reasonable prior
notice and during normal business hours, to review Recipient's
compliance with the terms of this Agreement.

4. Miscellaneous

(a) All Confidential Information and Confidential Materials are and
shall remain the sole and exclusive property of the Company. By
disclosing information to Recipient, the Company does not grant any
express or implied right to Recipient to or under the Company patents,
copyrights, trademarks, or trade secret information.

(b) All Confidential Information and Materials are provided "AS IS" and
the Company makes no warranty regarding the accuracy or reliability of
such information or materials. The Company does not warrant that it
will release any product concerning which information has been disclosed
as a part of the Confidential Information or Confidential Materials.
The Company will not be liable for any expenses or losses incurred or
any action undertaken by the Recipient as a result of the receipt of
Confidential Information or Confidential Materials. The entire risk
arising out of the use of the Confidential Information and Confidential
Materials remains with the Recipient.

(c) Recipient agrees that it shall adhere to all U.S. Export
Administration laws and regulations and shall not export or re-export
any technical data or products received from the Company or the direct
product of such technical data to any proscribed country listed in the
U.S. Export Administration Regulations unless properly authorized by
both the Company and the U.S. Government.

(d) This Agreement constitutes the entire Agreement between the parties
with respect to the subject matter hereof. It shall not be modified
except by a written agreement dated subsequent to the date of this
Agreement and signed by both parties.

(e) None of the provisions of this Agreement shall be deemed to have
been waived by any act or acquiescence on the part of the Company, its
agents, or employees but only by an instrument in writing signed by an
authorized officer of the Company. No waiver of any provision of this
Agreement shall constitute a waiver of any other provision(s) or of the
same provision on another occasion. Failure of either party to enforce
any provision of this Agreement shall not constitute waiver of such
provision or any other provisions of this Agreement.

(f) If any action at law or in equity is necessary to enforce or
interpret the rights arising out of or relating to this Agreement, the
prevailing party shall be entitled to recover reasonable attorney's fees,
costs and necessary disbursements in addition to any other relief to
which it may be entitled.

(g) This Agreement shall be construed and governed by the laws of the
State of Illinois, and both parties further consent to jurisdiction by
the state and federal courts sitting in the State of Illinois.

(h) If any provision of this Agreement shall be held by a court of
competent jurisdiction to be illegal, invalid or unenforceable, the
remaining provisions shall remain in full force and effect. Should any
of the obligations of this Agreement be found illegal or unenforceable
as being too broad with respect to the duration, scope or subject matter
thereof, such obligations shall be deemed and construed to be reduced to
the maximum duration, scope or subject matter allowable by law.

(i) All obligations created by this Agreement shall survive change or
termination of the parties' business relationship.

IN WITNESS WHEREOF, the parties hereto have executed this Agreement by
their duly authorized representatives as of the date first set forth above.

Party 1

By: ________________________________________

Name: ______________________________________

Title: _____________________________________

Date: _________________

Party 2

By: ________________________________________

Name: ______________________________________

Title: _____________________________________

Date: _________________

Digital Workflow. Going Tapeless using 5Dmk2

Please note that this is a reference article for MMQ proStaff.

Well, this one is going to be a major stumbling block for some. Eliminating tape is certainly appealing to me. Who doesn’t love drag and drop file transfer? But if I have to transcode the files into something more editing-friendly, then I’ve lost that convenience. Apple, Canon, someone, please help us out here and do something to make these files easier to edit!
Here’s the deal, as best I can understand it: The files from the camera are in h.264 format (in other words, they appear as a .mov file and are encoded using h.264 codec). Well, h.264 is a great codec for display and distribution, but not for editing. Once I finally got my Final Cut Pro working with the files, I still have to tolerate some dropped frames on playback. I won’t be exporting out of the timeline in the h.264 format, either.
I’ll run through my setup and what I had to do to get it going so far. I have a Mac Book Pro. It’s a 2.5 GHz Intel Core 2 Duo with 4GB RAM. My hard drive has been upgraded lately to 360GB, 7200 rpm. I was running Tiger and finally realized that the 10.4.x OS wasn’t getting it done for me. I couldn’t even play two seconds of video before it would stall. After upgrading to Leopard, I’m finally able to use my laptop. It’s important to make sure that your FCP and quicktime are up to date. We ran a quick test on another laptop in the department and found that the files were mostly editable in Final Cut Express as well.
Now many folks who have been testing the video files from the 5D MK II are suggesting that they be transcoded/recompressed before you begin editing. Again, I find that a ridiculous concept for me and completely negates the gain of shooting to a compact flash card. I want ease of use, speed, and simplicity. I want fewer hoops to jump through, not more. I want things to work fast and I need to be as mobile as possible. External hard drives are a luxury.
If you want to learn how to transcode the files before you edit, here’s a good link for you (with a very thorough review). I may make recompressing part of my workflow on medium to long-term pieces, but I think it’s essential for daily work that I be able to edit in h.264 on my laptop without an external hard drive.
Here are some tips that might help if you chose to edit in h.264
The first time you drag a clip into the timeline, you may get a message from FCP suggestion that you change the timeline settings to match your clip. You should agree to that and let FCP change it for you.
Then, go into User Preferences/General and UNcheck the box next to “Report dropped frames during playback”. If you get a notice every time a frame is dropped, you’ll never get anywhere during playback in the timeline. Expect to see some skipping and dropped frames while editing, but I found it tolerable and they weren’t there after export. Most of the dropped frames happen for me at the beginning of each clip - in other words, when the playhead has moved to the next clip there is a bit of a stutter.

In System Settings/Playback Control, I have the following:
RT: Unlimited
Video quality: low
Frame Rate: Dynamic
Pulldown Pattern: 2:3:2:3
Gamma Correction: Accurate
Frame offset: 4
Record: Use Playback settings

I initially had some trouble with transitions and lower thirds. They would play fine in the timeline, but on export, the video would just completely wig out on playback when it would hit those spots. Originally, I was exporting to quicktime movie, using current settings. So that amounted to taking an h.264 video and coding it again in h.264. Apparently that wasn’t a good thing. After I exported again to quicktime movie, but this time changing current settings to the Apple ProRes 422 1920 x 1080 60i 48kHz (not the HQ version), the transitions came out fine. I used that big file (2.5 GB for 3 minute of video) as my master to encode further for the web.

Feature Film @ Blk 514

Level 11 at 11pm

fitting studio

Sample English Scripts - Adult Woman Mother

RTB history and future according to the director

25 Years On, RTB Still Growing Strong
By Rohani Hj Abd Hamid

Bandar Seri Begawan - RTB (Radio Televisyen Brunei) has gone through many changes over the years, especially after Brunei Darussalam gained its independence in 1984. Twenty-five years on, RTB continues to grow strong. RTB's Acting Director, Awg Haji Mahrub bin Hj Morni, recently spoke with the Bulletin about the history of the state-run radio and television service.

In 1957, Brunei Radio was the only broadcast channel in the country. Nasional Radio Brunei, Pilihan Radio Brunei, Harmoni Radio Brunei, Nur Islam Radio Brunei and Pelangi Radio Brunei are among the radio broadcasting centres that constitute part of the RTB network.

RTB, which was formed in 1975, currently has three television channels namely RTBI, RTB2 and RTB3 (is it RTB International of RTB3? We’re confuse?)(a 24-hour international channel that can be viewed across Asia and some countries in the Middle East).

Besides broadcasting local news, RTB has also collaborated with various international broadcasters including Asia Vision, Euro Vision and Commonwealth Association.

Besides aiming to be a leading coordinator for Asean news exchanges, RTB is also committed to developing local talents in the field of arts and culture (by running competition? How about following up AFTER the competition?)

Once RTB's new building at Sungai Akar is fully operational by 2012, the state-run radio and television service hopes to be at par with its international counterparts.

Penulisan Skrip Drama untuk TV - reference

artikel berikut terkandung dalam satu blog yang mungkin tidak sesuai untuk diaplikasikan di brunei, but might as well see right?..

Panduan Penyediaan Proposal Drama TV - Siri 1

Salam Bahagia Penuh Penghormatan...

Sejak saya memulakan topik Panduan Penulisan Skrip, saya selalu mendapat email dari ramai pembaca yang bertanya berkenaan dengan cara untuk mereka menghantar skrip dan cerita mereka ke Stesen TV. Mungkin masih ramai penulis baru yang tidak jelas dengan cara dan amalan yang selalu digunakan di negara kita.
Bagi drama TV perlu saya ingatkan di sini bahawa, tidak perlu kita membuat skrip penuh terlebih dahulu. Apa yang perlu kita sediakan ialah proposal bagi cerita yang kita nak buat itu. Proposal yang telah lengkap itu haruslah kita hantar kepada Produser di Syarikat Produksi pilihan kita supaya mereka boleh menghantar ke Stesen TV.
Sebenarnya tidak ada format khas bagi seorang penulis menyediakan proposal untuk syarikat produksi ini. Kita boleh buat mengikut kreativiti kita. Namun begitu, ada elemen-elemen penting yang perlu ada di dalam proposal tersebut yang kita tidak boleh tinggal dan mesti ada.
Kebanyakan format proposal yang perlu disediakan oleh penulis untuk produser sama saja bagi semua televisyen kecuali RTM. Ini kerana sejak RTM memperkenalkan sistem tender, cara penyediaan proposal yang perlu disediakan untuk RTM haruslah mengikut kehendak mereka. Biasanya RTM ada menyediakan format tersebut untuk rujukan penulis dan produser setiap kali tender dibuka. Oleh yang demikian sebaik-baiknya untuk RTM, penulis dan bakal penulis ikut format yang dikeluarkan pada waktu tender dibuka.
Apa yang ingin saya bincangkan di sini, saya ingin mengutarakan kaedah atau cara yang biasa digunakan oleh saya di dalam menyediakan proposal untuk drama TV bagi Stesen TV Rangkaian Media Prima dan Astro. Sekali lagi saya ingatkan bahawa setiap penulis itu ada cara mereka sendiri dan mungkin sedikit berbeza, cuma apa yang saya paparkan di sini ialah element yang perlu ada di dalam proposal tersebut.
Cara penyediaannya adalah seperti berikut.

1) Maklumat Produksi

Sila nyatakan sama ada Telemovie / Drama Berepisod?
Untuk : Nyatakan Stesen TV Mana? TV3? Astro Ria?
Slot Cadangan : Slot Apa? Cerekerama? Teleprima?
Tema : Nyatakan Tema. Contohnya Hari Raya, Hari Bapa?
Konsep : Kekeluargaan? Percintaan? Jenayah?
Sasaran : Umum

Tajuk : Apa Tajuknya?
Genre : Semi Heavy Drama? / Romantic Comedy?
Running Time : 90 Minit? 45 minit X 13 episod? 30 minit X 25 Episod
Oleh : Siapakah Anda?

2) Sinopsis / Storyline

Ini merupakan bahagian yang paling panjang yang anda akan tulis. Nyatakan dengan terperinci jalan cerita yang hendak kita buat. Tulis subjek kita dengan jelas dan terperinci untuk main plot dan sub plot.

Jika ia merupakan sebuah drama berepisod, sila nyatakan sekali sinopsis bagi setiap episod.

3) Watak dan Perwatakan

Senaraikan setiap watak di dalam cerita tersebut beserta perwatakannya sekali dan cadangan artis yang akan mendukung watak tersebut. Berilah dua atau tiga orang calon bagi setiap watak.

Asingkan antara Watak Utama dan Watak Pembantu supaya ia senang dilihat. Perwatakan bagi setiap watak haruslah ditulis dengan terperinci seperti usia, jantina, sifat, protagonis atau antagonis, hubungan dengan watak lain dan sebagainya.

4) Moral

Di ruangan ini, sila nyatakan moral dan pengajaran yang ingin anda sampaikan kepada penonton. Apakah mesej di sebalik cerita anda itu.

5) Cadangan Lokasi

Berikan cadangan lokasi yang anda fikirkan sesuai dan menarik.

6) Sasaran Penonton

Sila nyatakan siapakah sasaran penonton anda. Adakah remaja berusia 13 hingga 20 tahun? Atau dewasa 25 hingga 40 tahun dan sebagainya…

Propsal Tamat.

Di dalam menyediakan proposal ini, menjadi tanggungjawab kepada penulis untuk memastikan permintaan di dalam cerita tersebut tidak terlalu tinggi sehingga akan menelan perbelanjaan yang banyak. Ia perlu dielakkan dengan cara meminimumkan watak sama ada watak utama dan pembantu, pemilihan lokasi dan props yang tidak menelan perbelanjaan yang tinggi. Ini kerana pada kebiasaannya proposal yang akan menelan perbelanjaan yang banyak biasanya akan ‘dibakulsampahkan’ sebelum ia sempat sampai kepada stesen TV.
*Setelah proposal anda itu lengkap, maka mulalah berurusan dengan mana-mana produser yang anda rasakan boleh berurusan dengan anda. Berilah proposal tersebut kepada mereka untuk mereka nilai dan hantar ke stesen TV yang sepatutnya.

Sekian dulu untuk topik kali ini… Sila nantikan topik berikutnya… Jika ada sebarang kemusykilan silalah bertanya...

*Betul jika saya silap… Kita sama-sama belajar…

Salam Terhormat Penuh Kasih Sayang Sesama Insan…
Zaini Kosnin (Iniaz, K.)

Masalah Penerbitan Drama- satu analisis

Ramai yang berpendapat menerbitkan drama adalah senang. Ada kamera, pelakon, lampu..sedikit wang untuk makan nasi katok sepanjang penggambaran. Semua jadi ok.
Inilah yang semakin menjadi-jadi. Bukan sahaja di Brunei, malah di Malaysia, Singapura dan Indonesia. Mungkin di tempat lain juga, tetapi kita sekarang berbicara tentang penerbitan drama Melayu.
Kenapa dulu ada jika ada drama seperti darah kedayan, keluarga liau badar, kita semua duduk diam melihat. Mungkin kerana kita tidak disajikan pelbagai 'menu' seperti adanya astro sekarang, tetapi mungkin juga kerana cerita/pelakon yang dipaparkan dapat kita kaitkan dengan kehidupan kita sekarang.
Darah kedayan mewakili kisah salah satu puak Brunei yang menonjol, manakala keluarga liau badar mewakili majoriti masyarakat Brunei albeit in a comedic background.
Artikel mengenai masalah ini juga ditulis dalam satu artikel seperti di bawah ini; its funny that orang Malaysia sendiri sakit jiwa melihat arah tuju perfileman di sana..kecuali yang sebelum 90-an. Da di du ok, setinggan ok, Tun P. Ramlee apa lagi..
Just read on… the following comes from a MALAYSIAN..not me.

Drama Melayu Mencari Kematangan

Ada kemungkinan saya ini dilahirkan bukan untuk menonton drama-drama Melayu mutakhir. Saya masih ingat lagi ketika zaman kanak-kanak dan awal remaja, pasti tidak ketinggalan menonton drama-drama seperti Opah dan PJ. Entah mengapa, pada ketika itu, drama-drama tersebut begitu mencuit rasa. Apabila tiba zaman permulaan drama-drama swasta, minat saya untuk menonton drama semakin merundum.

Kalau ada pun yang saya tonton ialah sewaktu di kampus, ketika drama disiarkan pada sekitar jam 6.30 petang - waktu membeli makan malam di kafe. Apabila sudah 'tertengok', mahu juga ikuti kesudahannya. Pun, dalam hati seringkali mempertikaikan hal-hal logik dalam cerita. Apa ya drama yang masih saya ingat? Mungkin Cinta Antara Benua kerana ia kisah pelajar di luar negara yang berusaha keras menunjang jati diri dalam hal yang tak berapa logik seperti sentiasa berbaju kurung nipis ke kuliah walaupun pada ketika itu awal musim bunga.

Selepas daripada itu, saya semakin meninggalkan drama-drama Melayu kerana saya tak tahan dengan dialog-dialog yang disampaikan dengan nada cresendo oleh pelakon-pelakonnya. Kalau tak bertempik, menengking sesama sendiri, tak sahlah drama Melayu itu. Atas alasan tersebut dan alasan-alasan lain seperti pengulangan kisah-kisah yang itu-itu juga, semakin menjarakkan saya daripada menontonnya.

Apabila saya dipelawa menonton sebuah drama tulisan seorang sahabat penulis malam tadi, saya cuba untuk menontonnya. Apatah lagi, drama tersebut merupakan adaptasi daripada sebuah novel pop yang agak meletup pada siri pertama novel tersebut. Sebagai sebuah novel, ceritanya meruntun perasaan walaupun aspek pemikirannya masih dangkal. Cerita tersebut semakin menuju kematangan apabila sampai pada siri terakhir novel tersebut.

Saya cuba betah menunggu sekitar 10 minit pertama siarannya. Saya tak tahan mendengar dialog-dialog cresendo - contohnya, mak datin yang mempuyai perwatakan klise - memarahi pekerja yang datang lewat.

Ah, mengapa watak itu tidak boleh digambarkan seperti Maryl Streep dalam The Devil Wears Prada? Beliau digambarkan sebagai majikan yang tidak berperikemanusiaan. Tetapi tidak pernah sekalipun Maryl Streep menengking kepada mana-mana pekerjanya. Semuanya dilakukan dengan mimik muka, senyuman sinis dan perwatakan sombongnya itu langsung tidak perlu hilang suara menjerit-jerit.

Pernah juga saya tanyakan kepada beberapa orang sahabat penulis yang terlibat dalam penulisan skrip drama tv tentang hal ini. Kata mereka, masalah pertama yang bajet. Kita harus akur bahawa bajet untuk drama tv tidaklah sebesar mana. Jadi, kalau nak buat cerita kereta meletup ataupun helikopter terhempas, alamat bajet tu cukup untuk siri pertama saja. Mana cukup nak bayar pelakon lagi.

Kedua, nak cari pelakon. Semua orang nak pelakon yang 'best-best'. Tapi, tak semua pelakon untuk lapang untukshooting. Kadang-kadang sudah ada komitmen untuk berlakon dengan drama/filem lain. Oleh itu, apabila sudah tidak ada rotan, kenalah cari akar-akar yang boleh dianggap berguna, walaupun adakalanya tak boleh digunakan pun. Itu hakikat, kata mereka.

Ketiga, skrip. Ada juga penerbit / pengarah yang campur tangan dalam hal skrip. Itu belum dicampur lagi dengan stesen tv yang turut sama sibuk dan mengubah-ubah skrip yang telah ditulis. Kalau kena dengan stesen tv yang bersifat kapitalis dalam darah daging mereka, tentu lebih parah lagi.

Itu antara yang pernah dikongsi kepada saya. Justeru, tidak hairanlah kalau saya kerap kali meninggalkan televisyen ataupun beralih saluran tv jika tertonton drama Melayu. Hati ini, ingin sekali menyokong industri filem/drama tempatan, tetapi selagi industri ini mementingkan rating, rating, rating, mungkin selama itu jugalah saya tidak berupa menonton drama-drama sebegini.

Kalau saya katakan di Malaysia kita kekurangan pelakon yang berbakat seperti itu, nanti orang kata, 'kalau kau pandai sangat berlakon, cubalah!' dengan nada cresendo juga. Apa boleh buat, saya yang berhasrat untuk mengikuti siri drama ini, mungkin tidak dapat berbuat demikian. Seperti juga, saya tidak mungkin dapat membaca novel-novel pop yang bersifat melodrama seperti ini. Apabila dialognya mula bertele-tele dan hilang signifikan, mulalah saya membayangkan novel-novel yang tebal itu sebagai lapik untuk meninggikan bantal ataupun kadangkala sesuai untuk menjadi penyendal daun pintu saya yang gemar ditiup angin. Ah, nakal sekali fikiran itu!

Mungkin benarlah, saya tidak dilahirkan untuk menonton drama Melayu mutakhir, lalu saya hilang cara untuk menghayatinya...

Penulisan skrip drama untuk radio

Tidak dinafikan bahawa penerbitan skrip drama radio tidak serancak penerbitan cerpen dan novel.
Skrip seumpama cerpen jua. Ia disokong oleh enam elemen utama; tema, plot, watak, dialog latar belakang dan bahasa. Kalau cerpen berasaskan penulisan deskriptif, skrip drama radio memerlukan kesan bunyi dan muzik bagai menggambar dan menghidupkan suasana.
Kalau sedih ditinggal kekasih, barangkali lagu ‘jangan kauucap selamat tinggal…’ sesuai digunakan. Kalau berada di tepi pantai, kesan bunyi desiran ombak dan nyanyian camar amat diperlukan.
Tema mesti ditetapkan terlebih dahulu. Kemudian tetapkan pula plotnya sama ada kronologi A hingga Z, imbas kembali atau monolog. Watak pula perlu digambarkan dengan suara yang sesuai. Dicadangkan, bilangan pelakon kurang daripada enam orang.
Dialog haruslah kata bual, ringkas, padat, rancak, ada sampuk-menyampuk dan sambut-menyambut. Anggaran panjang skrip; 20 halaman (45 minit), 12 halaman (30 minit) dan 8 halaman (15 minit).

Ending Credit for reference in Happily Ever After

Jack Neo's Happily Ever After is great. Enjoyed watching it, and enjoy the dark side of marriage even further.LOL

I cant believe how they handle things here..

The media fiesta 2009 at Marina Square attracted quite a lot of come that is. My encounter with Jonathan from Stomp.TV was interesting, especially with MDA acknowledging that they knew nothing about the 'gray' line in the niche market Stomp.TV is in. I sincerely hope that the girl (soory. forgot ur name :-)) is happy with what she's doing.

As usual..the 5 country guess applied. Jonathan guessed correctly. I wonder whether HM is interested in implementing their workflow in the new media in Brunei.

Anyhow, coming back to the PH that conducted the audition. OMG. The fact that quite a few elderly people came to the audition, i dont think
they were considerate enough to at least ; make their audition earlier rather than combine them with other younger people. I mean, letting them stand in line more or less around 3 hours has to mean something to how the PH handle the production. Talk about killing two birds with one stone. They have the audition AND a show running concurrent.

Nevertheless, I just let the picture speak for themselves. Now that I have seen TWO of Singapore PH auditions, I realize that what we have been doing in Brunei is better.

Collaborations with respective agencies and entities are in order.

Principal Consultant

RTB Calling All Script Writers - 2009

1st of all, we in Brunei need a revamp of stories being spinned to become drama in RTB.
Radio Television Brunei is giving members of the public an opportunity to showcase their drama script writing skills.
There are two categories — 'Production Series' (30 minutes, 13 episodes) and 'Special Drama' (60 minutes, one episode).
Forms are available from the reception counter of RTB.
For more information, call 2236855 or 2243111 (extension 221) during office hours.
We at MMQ also welcome all submission to drive the entertainment industry in Brunei. Email us at

Motion Graphic Sample ScreenShots

the 10 second or even 5 second rule in making a visual impact, for clients or user is crucial. I tend to imagine even while talking to a client what sort of approach the user required hence the standard that I am aiming for.

These are just some of the stunning work that I have found interesting.

MMQ Mediaworks Brunei