Directing

Chapter 4

Character, not circumstances,make the person.

Booker T. Washington

I. The “Manager” Role A. Blocking 1. Cross camera angles* 2. Start blocking from program center 3. Select easel position last*

B. Marking the Script C. Other Preparation D. Conducting Rehearsals 1. Pre-studio rehearsals 2. Studio floor rehearsals 3. Control room rehearsals

E. Using Communication Devices 1. During setup (PL) 2. During the production (IFB) F. Timing 1. Segment timing sheet 2. Talent timing cues

3. Program time and body time G. Calling Commands 1. Crew commands 2. Command principles a. commands of preparation b. commands of execution

II. The “Artist” Role A. Shot Juxtaposition 1. LS, MS, CU pattern a. collective shots b. particularized shots 2. HDTV Changes

B. Camera Selection 1. Thought process 2. Crossing camera angles

C. Shot Relationships 1. Cutting ratio 2. Shot similarity (Jump cut) 3. Position jumps

4. 180-Degree Rule (The Line)* a. axis of action b. axis of conversation

D. Other Principles of Continuity* 1. Plan camera sequence as a whole 2. Follow the action 3. Have camera work appropriate for the program 4. Observe consistency of style and pace

E. Transitions 1. Cuts 2. Dissolves 3. Fades 4. Defocus 5. Wipes

6. Digital effects 7. Timing of the transition a. cutting on action b. cutting with movement c. cutting on dialogue d. cutting on reaction e. cutting on the beat*

III. The “Psychologist” Role A. Familiarity B. New Relationships C. Directorial Style D. Working with Talent E. Working with Crew

IV. Production Project* A. Staging B. Lighting C. Shot Continuity D. Transitions E. Camera Blocking F. Calling Shots