The Single Performer

Many regular television formats pivot around a single performer; as a presenter, host, introducer, commentator, master of ceremonies, anchor, demonstrator, lecturer …

Relationship with the audience

The performer can relate to the audience in various ways:

• Looking straight at the camera, addressing the viewer.

• Doing a job, but looking up periodically to speak to camera.

• Working at something, while ignoring the camera. (There may be commentary over – either the talent’s or prepared script.)

• Speak to someone out of shot (usually near the camera).

• Work to a studio audience, and ignore the cameras.

It is important that the performer knows which approach is appropriate. Sometimes, of course, it will vary during the production. If they are to speak to a camera, they should know which. (Usually the one with the red tally light/cue light illuminated.) it may be necessary for them to know exactly where and when to stand, sit, or move, and the limitations of the shot (especially for closeups of held items).

if the performer is following a prompter, avoid rigid stares, anxious peering, or furtive glances, by making sure that:

• They have read the text beforehand (preferably they have written it).

• They have no difficulty in reading it at the camera’s working distance.

• They know the prompter will keep up with them (an operator controls it to suit the reading rate).

• They know the tricks of random head/eye movements and expression changes, to disguise the reading action.

Action

Keep action simple, particularly if the talent is not familiar with TV mechanics. Make it clear when you want the talent to move. The FM can give a series of separate cues, if necessary.

Some directors have the talent continually moving around … standing, sitting, walking, leaning, gesticulating, turning to new camera viewpoints to provide visual changes. It looks fidgety; the result of discomfort rather than technique! The secret is to make, changes appear rational and naturally motivated. Certainly don’t just let the talent wander around at random, but give them definite location points.

Shots

Head-on static shots are dull. Try to introduce camera movement (dollying/ tracking) or zoom changes from time to time, to vary interest, to emphasize points, or to change concentration. Occasionally, the camera might arc round from a frontal to an over-shoulder shot; but take care that such a move does not took laborious.

Let someone know when his actions will affect your shots. Don’t assume that because he happened to hold the jar during rehearsal so that we could read the label, he will do that on the air. Show him the problems, and if necessary, how he can check the shot on a nearby picture monitor.

Angling the desk

Straight-on frontal or side views can look posed and awkward. Instead, angle the desk slightly.

Subject movement

The performer should not be kept in a static position for too long. But in moving and repositioning him, always consider whether the result is appropriate.