Production Approaches

Directors vary in the ways they tackle their productions.

Unplanned production

Those who can’t visualize action and shots unless it’s all happening in front of them tend to avoid the commitment of planning as far as possible. During rehearsal, they arrange action, then choose shots (often promoted by the camera crew), which they intercut and blend into a free-flowing presentation. Results can vary from exciting, dynamic spontaneity… to bewildering chaos.

For some kinds of production (e.g. documentaries), there is a temptation to shoot any promising material, which is later selected and arranged into a coherent program, while ‘junking’ all unwanted sequences. With luck, the result is a fresh uninhibited approach. At worst, it’s just a ragbag of disjointed shots, strung together with visual effects and music.

Sometimes you may have little choice but to record whatever material is available, rather than organize matters as you want them. But wherever possible, it’s best to work out even a rough storyline or treatment beforehand, to provide a systematic shooting plan to which you can relate the shots.

Outline planning

Especially when using several cameras, effective production comes from systematic planning, seasoned with a touch of on-the-spot inspiration, and unexpected opportunities.

Occasionally there is no time for detailed planning. You learn that your live show now has an unexpected unrehearsed extra item. Then the only solution is to prepare an immediate outline framework that is likely to suit the situation. This might simply consist of:

• Checking the most suitable area that can be lit quickly.

• Arranging scenic treatment (e.g. dropping in drapes).

• Positioning any major items needed (e.g. chairs, table).

• Allocating typical shots to cameras: either general indications such as ‘Cam 1 covers broad action; Cam 2 takes ciose shots’ or specific shots such as ‘Cam 1 talces long shot of the entrance; Cam 2 a mid shot of the host greeting the guest’.

• Organizing the sound pickup.

In most cases, though, you can analyze the situation beforehand, and then position the camerafs) to give the best coverage.

Working to a script

You can script a production at several levels.

An outline script just indicates

• Scheduled times for rehearsal, meals, recording, etc.

• Details of the production team/crew involved.

• Equipment required (e.g. cameras, sound, etc.).

• Participants’/performers’ names.

• Any introductory announcements, commentary.

• Basic information on action.

The crew makes notes of shots/action arranged during rehearsal, and uses these (together with intercom prompting) during the recording session.

When a full script is used, this includes all the dialogue, and provides a detailed plan of action for the performers, cameras and sound, with guidance for lighting and scenic changes, special effects, etc.

Treatment breakdown

This plan shows a typical shot breakdown for brief scene.

The positions shown may represent three separate -cameras,

or two cameras (one at ‘Cam 1’ position, another moving from ‘Cam 2’ to ‘Cam 3’ positions).

or one camera shooting with three setups.

Shot 1: Cam 3 — Mid-shot of man and woman talking on sofa. Doorbell rings. Wan rises to open door… CAMERA PANS

Shot 2: CUT to Cam 1 as door opens to reveal child (waist-shot).

Shot 3: CUT to Cam 2 — Mid-shot showing woman’s reaction (surprise).

Shot 4: CUT to Cam 1 — Shot over woman’s shoulder of man and-child.

Shot 5: CUT to Cam 3 — Long shot of groyp. Child walks to woman, shot tightening to two-shot.

Shot 6: CUT to Cam 1 — Mid-shot of man (smiling), who sits …