Production Performance Lesson 2 - Directing

1. Production Performance Lesson 2 - Directing Broadcast/Video Production II

2. Directing • Objectives • Identify the director’s responsibilities in each phase of production • List qualities common to good directors

3. Directing • Important Terms • Audition • Cast Breakdown by Scene • Dry Run • Scene Breakdown by Cast • Script Breakdown • Slate • Take • Take Log

4. Directing • The Director’s Role in Pre-Production • Script breakdowns • Auditions • Pre-production meetings

5. Directing • The Director’s Role in Pre-Production • Organization is key • Director must make things happen • Teamwork is crucial • Taking on too much leads to mediocrity

6. Directing • Script Breakdown: the process of analyzing the script from many different perspectives • End result is a well organized and efficient production • Allows the director to answer production questions and develop a realistic production schedule

7. Directing • Script Breakdown • Cast Breakdown by Scene: a listing of the program’s cast members that indicates the scene numbers in which they appear • Scene Breakdown by Cast: a listing of each scene number in a program with all the cast members needed for each scene

8. Directing Cast Breakdown by Scene John: 2, 5, 6, 7, 12, 14 Mary: 2, 4, 5, 6, 9, 10 Eric: 1, 3, 15 Mike: 1, 3, 15 Susan: 4, 8, 10, 11 Extras: 13, 15

9. Directing Scene Breakdown by Cast 1 – Eric, Mike 2 - John, Mary 3 - Eric, Mike 4 - Mary, Susan 5 - John, Mary 6 - John, Mary 7 - John 8 - Susan

10. Directing Scene Breakdown by Cast 9 – Mary 10 - Mary, Susan 11 - Susan 12 - John 13 - Extras 14 - John 15 - Eric, Mike, Extras

11. Directing • Script Breakdown • Cast Breakdown by Scene • Tells cast where they need to be • Scene Breakdown by Cast • Tells production staff if all necessary cast is present when shooting each scene • Used by the production assistant to remind performers when and where to be for the next day’s shoot

12. Directing • Audition: the process by which a director makes casting decisions for a program by watching and listening to prospective performers

13. Directing • In an audition, the Director • Decides if a performer is capable of portraying the role he is casting • Must be objective • Listens to talent’s voice quality • Tests talent’s ability to follow stage directions • Should be in another room watching talent on a monitor because this is how the audience will see him or her • Should never cast a good friend

14. Directing • Auditions • Directors are stuck with their casting decisions • After shooting starts, an actor can be fired, but each scene that actor was in must be re-shot with the replacement performer

15. Directing • Rehearsals • Director holds rehearsals with cast • As cast becomes proficient with the script, the cast attends rehearsals

16. Directing • The Director Coordinates: • Schedules • Equipment • Rehearsals • Cast • Crew

17. Directing • The Director’s Role in Production • Dry Run, or Camera Rehearsal: a practice session of scenes in a program that includes the talent, technical director, audio engineer, camera operators, and director • Costumes and makeup are not worn • Tape is not run • Studio lights are not turned on • TD practices camera switching

18. Directing • The Director’s Role in Production • When satisfied with the Dry Run, the Director calls for the actual shoot to begin • Performers get into costume and makeup • Crew readies the lights and other equipment

19. Directing • The Director’s Role in Production • During the actual shoot, the director • Always uses correct terminology in order to gain respect and to communicate efficiently • Uses a memorized start-up sequence of commands to start the program to combat nervousness or stress that lead to crucial mistakes

20. Directing • The Director’s Role in Production • During the actual shoot, the director • Always uses correct terminology in order to gain respect and to communicate efficiently • Uses a memorized start-up sequence of commands to start the program to combat nervousness or stress that lead to crucial mistakes

21. Directing • The Director’s Role in Production • Multiple Takes • Take: a term that identifies each time an individual scene is shot

22. Directing • The Director’s Role in Production • Multiple Takes • Planned to capture different angles • May be necessary due to a mistake made by the talent or crew, which causes the director to yell “Cut!” • Each scene should be retaken until three “good” takes are recorded • It is better to have a choice than to come up short in the editing room

23. Directing • The Director’s Role in Production • Multiple Takes • Never move on to another scene until the takes of the current scene are acceptable • When shooting of the scene is complete, rewind the tape and view the shots and takes of the scene • This additional time is justified and will prevent having to gather all the crew, talent, sets, props, and equipment to re-shoot weeks later

24. Directing • The Director’s Role in Production • Multiple Takes • The slate is very important • Slate: a board or page that is held in front of the camera noting the scene number, the take number, and several other pieces information about the scene being shot • For example, if mistakes made 5 times in Scene 5, the sixth take is slated as “Scene 5, Take 6.”

25. Directing • The Director’s Role in Production • Multiple Takes • Hold the slate in front of the camera for at least 10 seconds, but not more than 15 seconds • Then the countdown begins to initiate action on the set and to cue the performers

26. Directing • The Director’s Role in Production • Multiple Takes • Take Log: a written list of each scene and take number that have been shot and recorded on a particular tape – also called a shot log • When the performance of a scene is acceptable to the director, the take is circled on the log • Later, the director can scan directly to the beginning of the good take; instead of viewing all of the bad takes

27. Directing • The Director’s Role in Post-Production • Editing, adding music, scene transitions, sound effects, special effects, titles – referred to as “post” • Trying to fix substandard shots in post-production is a terrible mistake because it can become so time-consuming that the cost is not within the budget • The best solution is to plan and shoot the scenes correctly during production

28. Directing • Start Something You Can Actually Finish • Keep the program short; a dynamic 5-7 minute minutes vs. boring 30 minutes • Keep it simple to reduce the chance for mechanical or human failure • A small crew reduces complications; more people equals higher probability for failure • Have a realistic budget proportional to the budget and scale the production for success, not disappointment

29. Directing • Start Something You Can Actually Finish • Be a professional; treat people with respect, provide plenty of reminders of scheduling, have maps and phone numbers available for everyone • Be organized and do not waste anyone’s time • Keep contact information for clients and cast members in order to communicate quickly and efficiently – to include address, home number, business phone, cell phone, pager number, and email addresses

30. Directing • Start Something You Can Actually Finish • Keep an eye on the big picture; do not spend excessive time getting one small scene perfect, while sacrificing the time necessary to complete the entire show

31. Directing • Being an Effective Director • A good director: • Is not the dictator of the production • Takes the initiative to do whatever it takes to successfully complete the program • Knows the capabilities of the equipment and makes the most of available resources, instead of complaining about what is not available • Maintains an even temper in front of the cast and crew

32. Directing • Being an Effective Director • A good director: • Gives only constructive criticism when instructing the talent or crew • Is part artist and part technician • Knows the responsibilities of each crew member • Uses knowledge and experience to develop effective interpersonal relationships with the production staff

33. Directing • Being an Effective Director • A good director: • Delegates tasks, rather than trying to do everything personally • Is well-organized, almost to a fault • Realizes that making final decisions is his responsibility

34. Directing • Wrapping Up • The best directors have come up through the ranks and have held almost every production staff job along the way • All of that experience is called upon throughout the production process • A director can influence attitudes, emotions, and actions of the audience using visual media • A good sense of ethics helps the director to be unbiased when presenting information

35. Directing • Wrapping Up • Having a well-rounded education in geography, history, and political science is beneficial for a director • Always watch television programs and film productions to see what the professional do and how they do it • Notice how a director makes a particular scene exciting

36. Directing • Wrapping Up • As you direct more programs, you will begin to develop your own style • Meanwhile, work as often as possible in all of the technical positions • Experience in each position will lead to success in future projects and responsibilities

37. Directing • The End!!!