Reminders on Effective Directing

There’s a great deal of pleasure and satisfaction in working on a well-run TV production. But a lot depends on how effectively the director organizes and handles his team. Let’s try to summarize typical factors that encourage effective teamwork.

• Plan your show, Even a basic outline aids coordination.

• Get very familiar with your script beforehand, so that it becomes a reference point, not a crutch.

• Have firm ideas. Don’t begin a rehearsal with vague hopes, or an expectation that it will be ‘all right on the night’. Don’t rely on multi-takes during videotaping, in a hope that eventual editing will cobble together a worthwhile production.

• Welcome your guests, and ensure that they know what you want them to do.

• Get to know your team beforehand. Don’t just accept them as ‘facilities’.

• Some directors call crew members by name, instead of by function. On balance, it prevents ambiguities to refer to ‘Camera 1, Boom, Lighting’ – particularly when they are all named Joe!

• Always check that all the studio team, and contributors, e.g. film, VTR, can hear intercom (talkback), and are ready to go.

• Be constant when using terms. Use local terminology.

• Give clear guidance. Be decisive. Be firm but friendly, but don’t order or browbeat It does nothing but demoralized. Critical, observations that are acceptable face to face create tensions when heard over intercom (often without the opportunity to reply!).

• Continually scrutinize preview monitors – Are shots OK? Any guidance or changes needed? Have cameras moved to their next positions? Are graphics/ titles ready and OK?

• Rehearse from the production control room. Don’t keep going into the studio to alter or correct. It wastes time, and concentration lapses. Most problems can be rectified from what you can see on camera, and with the aid of your FM and those members of the crew concerned.

• Ensure that the crew knows which section you are about to rehearse (setting, shot number). If you are going over a section again, check that people realize why, and what was wrong last time,

• Check at intervals on progress relative to available rehearsal time.

• Don’t leave items unrehearsed. Always check at the end of each section that the crew is ready to go on to the next.

• Give preparatory standby to any source that has not been used for a long period, such as film inserts, or he may not be ready for immediate cuing.

• Tell performers if they are creating problems, e.g. he is shadowing her, or his hand is in the way. Don’t assume they know, and will correct

• Some situations are not readily.transformed by ‘doctoring’, e.g..iotrd music cannot be faded down to make it a ‘quiet background’ behind commentary. A light-toned scene cannot be made to look dark by exposure or video adjustment (only by careful lighting, treatment). Hence a daylight photograph cannot readily be transformed to ‘night’. A-dark-toned setting cannot be made to look light, however strongly lit.

• If there is a delay during rehearsal because, for example, an item is not ready, pass on to another item, checking the linking between later.

• After a rehearsal, have a short break to discuss with the performers, and the crew if necessary, any points to be corrected.

• Be punctual. Don’t be late starting rehearsal; time is precious. Don’t leave people hanging about, waiting and wondering what to do. Always break at scheduled times such as meal breaks, and announce return times, and the point from which – rehearsal will recommence.

• Always be prepared to cope with a breakdown of facilities – particularly on live transmission – and anticipate possible alternative arrangements such as substituting another camera.

• Do not over-rehearse – particularly amateur or inexperienced talent It produces uncertainty, woodenness, less dynamic performances. Do not use time just because It’s there. Under-rehearsai is equally undesirable.

• After videotaping, hold the studio until the recording has been checked. If retakes are necessary, make this clear, and announce the sections and shot numbers involved, what was wrong, and the order of re-recording. Consider any costyme/make-yp/scenic changes necessary for the retakes.

At the end of transmission (taping).thank the crew and the performers. Be ready to praise work well done – but don’t gush. They are professionals and know when they have done well or badly. A kind word oils the wheels of progress. Don’t hold post mortems!

Rehearse/record

• There are advantages in shooting with a single camera, rehearsing, then immediately recording the action; less detailed planning; no camera coordination problems; immediate retakes of errors; opportunities for rethinking, improvisation, improvement; less elaborate facilities needed during shooting – only during post-production editing.

• Disadvantages include: tendency to Jess disciplined shooting (unnecessary multi-versions for later selection); Instant correction needed for any short-• comings/faults in lighting, scenery, costume wardrobe, makeup etc. is very time-consuming; intrinsic problems in continuity of action, lighting, sound, etc.; considerable ‘post-production’ work needed on. editing, aydio, video correction, effects, etc.