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Television Production: The Director in Preproduction

• The success or failure of a director depends on the amount of preparation completed
• A clear understanding of the program objective and the angle is essential for the director.

Revisiting Program Objectives

• In scripts and program proposals, the program objective acts as the "goal" or "purpose" in the general introduction.
• The angle of the program is the central theme and major storytelling approach.

Script Formats

• The script interprets the idea for the show for the viewer, so you should accurately transcribe what they can see and hear when watching the program
• In video production, the script translates the program objective into specific medium requirements.
• There are four basic script formats for video productions:
  • Single-column drama script
  • Fully scripted A/V script
  • Partial two-column A/V script
  • News script

What is A/V?

• AV input is a connector label used to receive audio/visual signals from electronic equipment, which generates AV signals.

Single-Column Drama Script

• The single-column drama script includes all spoken dialogue, major character behaviors, and action cues in a single column.
• This script format is used in dramas, situation comedies, skits, and soap operas.

Standard Two-Column Script

• The left column contains all of the video information.
• The right column contains the audio information.
• The dialogue or the narration is fully scripted.

Fully Scripted A/V Format

• In a two-column A/V script, the video instructions are found on the left and audio instructions including dialogue are on the right.
• Everything that is to be spoken or only parts of the dialogue appear in the audio column.

Partial Two-Column A/V Script

• Only part of the dialogue is indicated in this script format.
• Video information in the left column; partial dialogue in the right column.
• Host questions are fully scripted, but answers are briefly described.

Two-Column News Script

• The left column is for the production information.
• The right column are words spoken by the newcaster, as well as audio in- and out-cues.

Preparing for a Multicamera Studio Production

• Easy-to-read script markings, consistent terminology, and a realistic timeline are essential to successful multicamera directing.
• To understand the program objective and angle, a director will interpret the script for its medium requirements.
• Important to visualize shots, talent placement, camera placement with script notes and cues.
• The floor plan helps the director visualize shots, determine lighting, audio, and talent placement.
• The floor plan specifies both the studio set and the set props.

Interpreting A Floor Plan

• The floor plan is a diagram of the scenery and properties, visualizing shots and translating them into camera positions. The position of talent and camera can be determined by same grid paper.

Talent Blocking

• Blocking describes the movement of subjects on a film set
• Interesting blocking can keep a viewer engaged
• Talent movement across the screen reinforces space and direction

Intepreting a Location Sketch

• Outdoor location sketches should show the main streets, buildings and facilities of the immediate area.
• Should also indicate the location of the EFP vehicle and the nearest toilet facilities.
• Any outdoor sketch should note the position of the sun during the scheduled production period

EFP

• Electronic Field Production (EFP) is a television industry term referring to a video production which takes place in the field.
• EFP is production outside of a formal television studio, using a practical location or a special venue.

Location Sketch

• Sketches should show the principle production areas such as rooms/hallways, windows/doors, and major furnishings

Using a Storyboard

• A storyboard provides a shot sequence with visualization points and audio information.
• Typically uses preprinted paper with areas that represent the screen, audio, and other information.
• A storyboard can use plain paper or be created by computer.
• Should offer clues for production, like location, camera positioning and set design.

Marked Script

• Proper marking of a script will aid multi-camera directing from the control room or on-location
• Scripts are marked by the director
• Field of view markings are written by the director, not the script writer
• Many marking symbols have become standardized
• The ready cues are not written but implied
• Keep your script marks to a maximum and make them big enough for recognition

Time Line

• Shows the major production phases; the key times that things are scheduled to take place.

Control Room Directing

• Requires a strong knowledge of terminology, time lines, directing rehearsals, standby procedures and on-the-air procedures
• Most of the terminology has become standardized
• The time line is the overall production schedule--a lists the major deadlines for production.

Director's Visualization Cues

• Visualization cues are used in camera operations to achieve certain shots
• Easily achieved with proper camera handling.

Director's Audio Cues

• Audio cues involve all aspects of audio
• Directing the use of microphones
• Cueing the start and stop of audio from a source

Director's Sequencing Cues

• Sequencing cues aid in getting the shot from one shot to the next, including transition.

Director's Special Effects Cues

• Not always uniform
• Depending on the complexity, directors may use their own shorthand

Director's Video Recording Cues

• Used to stop or start the record and to switch between outputs.

Control Room Directing- Rehersals

• Two rehearsal methods: dry run and camera rehearsal which non-dramatic shows use.
• Dry run, or blocking rehearsal, sets where talent will stand/ what they will do.
• Camera rehearsal, orients with studio floor, utilizes cameras, audio, and equipment.
• Director outlines the set's happenings beforehand.

Control Room Directing

• Directing the Multicamera Show the goal is to use switching to coordinate two or more cameras, live from the control room.

Show Directing

• Directing the Multicamera Show means you're coordinating multiple cameras from the control room on a live-on-tape production.
• This doesn't necessarily mean recording the entire program in a single take.
• The directing job becomes largely a matter of coordinating and cueing the production crew

Standby/On-Air Procedures

• Standby procedures are immediately used preceding your show.
• The floor manager will ensures the talents are in position
• Terminology should be clear.
• Major cues are communicated through the headset.

Single-camera Directing

• Single-camera directing means that the shots are planned but may not follow the flow of the script,.
• Production efficiency determines order of shots
• Editor must be provided with usable trim handles

Continuity

• When directing single camera scenes, continuity of sound, vectors, action and aesthetical energy are vital.
• Usually easier to rehearse single-camera before recording
• Out of sequence shots must seamless.

Single-camera Field Production = EFP

• The script breakdown is most vital, which sets how the shots will be arranged during video recording

Documentary Directing

• Directing should focus on the scope of documentary coverage
• Must study the true event before going to the location
• Directing skills happen post-production while working with the video and sound editors

Location Setup

• Host will sit opposite the guest in a standard single interview setup, with the Camera placed directly next to the interviewer.

Camera Positioning for EFP

• Always use eye level with the interviewee
• Make sure the camera is level for the interviewee's eyes
• Avoid High/low angle shots.

Single Camera Positioning

• Do not position someone Infront if a wall
• Interesting backgrounds makes it easier to understand more about a person
• Pay attention to the interviewees colors of their clothes and patters

Pre Recording Checklist

• Recharge batteries
• Play with the camera before shoot.
• Test the sound
• Source natural lighting.
• Ask the interviewee about devices that may cause noise during the shoot.
• 16:9 ratio for the recording

Electronic Field Production- Pre Production Planning

• These productions, which occur outside the studio, should be carefully planned in advance.
• EFPs have site surveys, and include documentaries, magazine news stories, on-site interviews and investigative reports and site surveys .
• Must adapt in the field-

Electronic Field Production- Remote Surveys

• A remote survey is used for all field productions except ENG, supplying important information about technical aspects
• Director should get an idea of where to set up cameras- power and sound requriements.
• Ensure reliable contact person to work with.
• Conduct the survey at the time of the scheduled event.

Remote Survey Item Topics

• Key Qs include principal contact, exact location of the event, time of event, type of event, major camera positions, lighting, audio, available power, and intercommunications

Electronic Field Productions-- Shooting

• It's best to use a checklist to bring/return equipment .
• Use camera mount, power supply, lighting and cables

Field Production Elements

• Prepare a checklist.
• External changes must be observed. Shooting Outdoors: Changing weather conditions and random background noise must be monitored Shoot Indoors: changing lighting must be observed. Use a wide area. Shooting Elements; Foreground Background

Tips for shooting

• Rehearse audio pickup before recording.
• Reminders will be helpful on set
• Show respect to others when shooting
• Logging footage is vital
• Help clean up space after shooting
• Loading equipment is vital to maintain control of elements

Postproduction Wrap-up

• Backup sources, edit footage, editing log, Handover footage