Television Production: Director's Cues, Script Formats, and EFP - PDF

Television Production The Director in Preproduction REVISITING THE PROGRAM OBJECTIVE Program Objective and Angle  The success or failure of a director depends to a large extent on the degree of preparation.  A clear understanding of the program objective and the angle are essential starting...

Television Production The Director in Preproduction REVISITING THE PROGRAM OBJECTIVE Program Objective and Angle  The success or failure of a director depends to a large extent on the degree of preparation.  A clear understanding of the program objective and the angle are essential starting points for the director.  Most script and program proposals state the program objective—as the “goal” or “purpose” section in the general introduction to the project.  The angle of the program is the central theme and major storytelling approach or framework.  SCRIPT FORMATS  The script interprets the show idea into what the viewers should actually see and hear when watching the program.  In the video production, the script translates the program objective in to specific medium requirements.  There are four basic script formats for video productions: i. Single-column drama script ii. Fully scripted A/V script iii. Partial two-column A/V script iv. News script WHAT IS A/V?  AV input is a common label on a connector to receive (AV) audio/visual signals from electronic equipment that generates AV signals (AV output). Single-column Drama Script The single column drama script contains all spoken dialogue, major character behaviors, and action cues in a single column. Dramas, situation comedies, skits and soap opera use This script format. Standard two-column Script In the two-column documentary script format, the left column contains all the video information, and the right column shows all the audio information. The dialogue or narration is fully scripted.  Fully Scripted A/V Format In a two-column A/V script, the video instructions are page-left, and the audio instructions (including the dialogue) are page-right. The A/V format can be fully scripted, which means that everything that is spoken appears in the audio column, or partially scripted, which shows only parts of the dialogue. Partial Two-Column A/V Script This script format indicates only part of the dialogue. This script shows video information in the left (VIDEO) column but only partial dialogue in the right (AUDIO) column. The host’s questions are usually fully scripted, but the answers are only briefly described. Two-column News Script This script format has left column for the production information as who is on-camera, the type and the length of the videotape inserts, and special effects. The right column shows every word to be spoken by the newscaster as well as the audio in- and out-cues of the videotape inserts.  PREPARING FOR A MULTICAMERA STUDIO PRODUCTION Easy-to-read script markings, consistent terminology and a realistic time line are essential to successful multicamera directing. By understanding the program objective and the angle, the director will then interpret the script for its medium requirements. This implies visualizing the shots, blocking the talent and the cameras, and marking the script with cues to the talent and the crew. Reading the floor plan can help the director visualize key shots, determine lighting and audio requirements, and decide on blocking for talent and cameras. Also, in floor plan, it specifies the studio set and the set props.  Interpreting a Floor Plan  Floor plan is a diagram of scenery and properties drawn on a grid—to visualize the shots and translate them into camera positions and traffic patterns.  On the same grid paper, the talent blocking and the camera positioning also can be determined. *talent blocking  The term blocking is often used to describe the physical movement of subjects on the film set and within the confines of the same frame.  Creating interesting blocking can engage the viewer’s eye and keep them involved in the current image and therefore in the story.  Talent blocking across the screen (left to right or vice versa) helps reinforce space and direction. Interpreting a Floor Plan Traffic Safety Interview: Rough Sketch This rough sketch for a studio interview set shows the approximate locations of the chairs and the cameras. Interpreting a (OB Van) Outside Broadcast Van Floor Plan The OB van is a studio control center on wheels. It contains the program, audio and video control centers; a number of VTRs; and transmission equipment. Interview set: Floor plan and prop list With a floor plan, the director can block the major moves of the talent and the cameras. Interpreting a Floor Plan Interview set: Camera positions The camera positions reveal some of the production problems caused by this setup. Interpreting A Floor Plan Revised Interview set The revised floor plan for the interview provides for adequate background cover and interesting shots. Interpreting a Location Sketch Outdoor location sketch An outdoor location sketch should show the main streets, buildings, and facilities of the immediate production area. It should also indicate the location of the EFP vehicle and the nearest toilet facilities. Also 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, outside of a formal television studio, in a practical location or special venue. Interpreting a Location Sketch Indoor location sketch The indoor location sketch should show the principal production areas (room and hallway), windows and doors, and major furnishings, such as desks, chairs, plants and file cabinets.  Using a Storyboard  A storyboard is a sequence of visualized shots that contains key visualization points and audio information.  A storyboard is usually drawn on preprinted storyboard paper, which has areas that represent the video screen, audio and other information.  A storyboard can also be drawn on plain paper or created by computer.  A good storyboard offers immediate clues to certain production requirements, such as general location, camera position, set design, hand props, talent action, etc. Hand-drawn Storyboard Computer Generated Storyboard  Marked Script Proper marking of a script will aid you greatly in multi-camera directing from the control room or on-location. This script has been marked by the director. Note that the markings for the field of view are written in by the director, not the scriptwriter. Many script-marking-symbols have become standardized. The ready cues are not written but implies. Keep your script marks to a maximum and make them big enough for easy recognition. Marked Script (cont.) Shot Sheet This shot sheet shows the shot sequence for camera2. Time Line The time line shows the major production phases are to take place.  CONTROL ROOM DIRECTING  A good director in multicamera production, need a knowledge in director’s terminology, the time line, directing rehearsals, standby procedures and on- the-air procedures.  Most of the director’s terminology have become standardized and try to keep the commands and cues consistent.  The time line is a time frame of overall production schedule, which lists the major deadlines for the production. Director’s Visualization Cues The visualization cue are directions for the camera to achieve certain shots. Some of these visualization can be achieved in postproduction, but they are much more easily done with proper camera handling. Director’s Sequencing Cues Director’s Sequencing Cues The sequencing cues help get from one shot to the next; including major transition. Director’s Sequencing Cues Director’s Special-effects Cues Special-effects cues are not always uniform, and, depending on the complexity of the effect, directors may invent their own verbal “shorthand”. Director’s Audio Cues Audio cues involve cues for microphones, starting and stopping various audio sources, such as CD layers, and integrating or mixing those sources. Director’s Sequencing Cues Director’s Video-recording Cues These cues are used to stop or start the recording mechanism, to slate a video recording and to switch to the recording output.  CONTROL ROOM DIRECTING Rehearsals  Two rehearsal methods that nondramatic show normally apply: dry run and camera rehearsal.  Dry run, or blocking rehearsal, is used to block the movements of the talent—where they stand and walk and what they do.  In camera rehearsal, also a form of dress rehearsal or orientation, which is conducted from the studio floor and involves crew, talent, cameras, audio and other necessary production equipment.  During this rehearsal, the director explains to talent and crew what is happening on the set before doing a run-through.  CONTROL ROOM DIRECTING Directing the Multicamera Show  This stage is also known as control room directing and live- switched directing; that is, to use switching to coordinate two or more cameras from the control room while directing live-on-tape show.  Live-on-tape dos not necessarily mean that you must do entire show in a single take but the recording fairly long, uninterrupted sequences that require no, or only minor, postproduction editing.  Once in the control room, directing job becomes largely a matter of coordinating and cuing the production crew.  CONTROL ROOM DIRECTING Directing the Multicamera Show  Standby procedures is used immediately preceding your on-the-air or live-on-tape show.  The floor manager is responsible to make sure the talents and other camera crews are in position.  On-the-air procedures require the director’s to speak clearly and precisely by using the standard terminology.  When directing from the control room, the director communicates all major cues to the crew via P.L. headset.  SINGLE-CAMERA DIRECTING  In single-camera directing, you need observe all the continuity principles of multicamera directing except that you are videotaping the shots piecemeal (in an unsystematic way) and not necessarily in the order of the script.  In this production, the director will base on production efficiency rather than script narrative dictates the order of shots.  Utmost care must be taken that the out-of-order shots with enable seamless continuity in postproduction editing.  Always provide the editor with usable trim handles.  SINGLE-CAMERA DIRECTING  Rehearsal for single-camera scenes are easier because it can be done immediately before the actual video shooting.  To perform and act in SCP need an added strain on the performers, where many repetition may happen for variety of shots.  In single-camera directing of out-of-sequence shots, watch for continuity of vectors, action, sound and aesthetical energy.  Single-camera studio directing from the studio floor is similar to multicamera directing.  SINGLE-CAMERA DIRECTING Single-camera field production = EFP  The important thing is the script breakdown, which is how the scenes are arranged for video recording.  SINGLE-CAMERA DIRECTING Single-camera field production = EFP  When shooting a documentary the directing should focus on the coverage of it.  Study the true event before going to the location.  The directing skills for documentary show usually may have to come into play during postproduction., when working with the video and sound editors. Single-camera field production = EFP In the standard single-camera interview setup, the host sits opposite the guest. The camera is placed next to the interviewer. Camera: Positioning for EFP The camera has to be at eye level with the interviewee The tripod so the camera is at the same height as the interviewee’s eyes Avoid high angle and low angle shots  CAMERA: FRAMING The position of the camera and the interviewee  SINGLE-CAMERA DIRECTING The position of the camera and the interviewee Avoid placing the interviewee directly in front of a wall It is better to choose a more interesting background for the interview, one that convey something about who the interviewee is as a person. e.g.: dinner room, living room Pay attention to the colours and patters of the interviewee’s clothes e.g.: if the interviewee is wearing green, avoid putting them in front of something green  SINGLE-CAMERA DIRECTING The checklist that you should bare before starting the SCP-recording: 1. Recharge your two batteries at home, prior to the interview 2. Play with the camera before you shoot the interview 3. Make sure that all the equipment before you shoot the interview 4. Set up the camera near a source of light 5. Set up the camera far away from external noises that might interfere with the filming (e.g. fridge, air conditioner) 6. Ask the interviewee, if possible, if they can turn off the ringer of their home and mobile phones.  SINGLE-CAMERA DIRECTING The checklist that you should bare before starting the recording (cont.): 7. Avoid back lighting 8. Set up the tripod (use the water indicator to make sure the camera is leveled). 9. Set up the camera 10. Unpack all the mini DVs before starting to record 11. Place the camera in from of the interviewee 12. Place the camera at eye level with the interviewee 13. Make sure to have a 16:9 ratio rather than a 4:3 ratio. 14. Choose the best settings 15. Test the sound ELECTRONIC FIELD PRODUCTION  These productions, which occur away from the studio, are thoroughly planned in preproduction.  EFPs include documentaries, magazine news stories, investigative reports, on-site interviews, etc.  On of the most important steps is the remote, or site survey.  When in the field, learn to adapt to the environment. ELECTRONIC FIELD PRODUCTION Pre-production: Remote Survey  A remote survey is necessary for all field productions except ENG.  It supplies important information about such technical aspect as power availability, lighting and sound requirements.  Also, it gives the director an idea of where to place the camera or cameras.  Establishing a reliable contact person is an important part of preproduction.  Whenever possible, try to conduct the survey at the same time of day as the scheduled field production—to get the actual scenario. Conducting the survey Remote survey The above table lists the major survey items and the key Questions you should ask. ELECTRONIC FIELD PRODUCTION Production: Shooting Use a checklist for taking the equipment into the field and bringing it all back Equipment checklist ✓Camcorder(s) ✓Camera mount(s) ✓Recording media ✓Power supply ✓Audio ✓Cables and connectors ✓Monitor and test equipment ✓Lighting ✓Intercom ✓Miscellaneous ELECTRONIC FIELD PRODUCTION Production: Shooting Prepare a checklist of all equipment needed, and test all equipment before taking it to the remote location. When shooting outdoors, changing weather conditions and random sounds are a constant hazard and must be carefully monitored. Watch the foreground and the background for framing and shot continuity and also to avoid odd juxtapositions. When shooting indoors, be aware of changing lighting conditions, which may seriously influence your editing continuity. Be careful not to place lighting instruments too close to combustible materials. ELECTRONIC FIELD PRODUCTION Production: Shooting Do a brief audio rehearsal before shooting begin, to check the sound pickup environments. Always make general production reminder to all the production crews for safety precautions, such as ✓Respect people’s property ✓Safety ✓Logging ✓Putting things back and cleaning up ✓Loading the equipment. After the production make sure that you leave the location the way you found it and that you brought back everything you took to the field. ELECTRONIC FIELD PRODUCTION Postproduction: Wrap-up Make protection copies of all source material right after the recording. Review the copies of the source footage. Prepare an accurate editing log. *the process of selecting what footage you would like to extract from the source media and deposit on your local hard drive to be manipulated further in the editing process Hand-over the rest of the postproduction task to the expert to put it all together into a comprehensive message that ideally will convey the intended program objective.  SYNTHETIC ENVIRONMENTS Not all environments are lens-generated; they can be synthetic as well. Synthetic environments are generated electronically. Environments can be electronically generated through chroma keys of computer-generated backgrounds. Interactive virtual reality programs can create entirely synthetic, computer-generated environments. Some programs can also simulate certain production situations (camera positions, scenery colours or lighting), which can be manipulated to find the most effective combinations. Such a simulation is a valuable preproduction aid. Computer-controlled environment can build synthetic environments partially or entirely by computer. The end.