DIRECTING

1
DIRECTING

• Form
• Function

2
THE DIRECTOR

• Interpreter Creator
• Benevolent dictator
• All knowing
• Writer, adapter
• Budget conscious
• Organized

3
AESTHETICS I

• Function
• Why something is expressed
• Form
• How something is expressed
• Content
• What is expressed

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AESTHETICS I I

• Realism
• Content more than form
• Close to reality as media allows
• Modernism
• Form more important than function
• Illustrates emotion, not reality
• Post Modernism
• Content is most important
• Audience participation

5
VISUALIZATION

• Framing
• Composition
• Continuity
• Sequences

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FRAMING

• Types of shots
• XWS, LS, WS, MS, MCU
• CU, XCU, 2-shot
• Angles
• POV, OS
• Reverse angle
• Low, high, angle
• Overhead

7
MOVEMENT

• Stable, mobile, unstable
• Pan, tilt, pedestal
• Dolly, truck, arc
• Crane, boom
• Aerial, body mount
• Zoom

8
COMPOSITION I

• Aspect ratio
• 3 x 4
• 9 x 16
• Essential-critical area
• 10 rule
• Rules of thirds
• Symmetry, asymmetry
• Closure, cut-off points

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COMPOSITION I I

• Nose-look-move room
• Depth-perspective
• X, Y, Z axis
• Moving shots, apparent movement
• Scale-shape
• Image quality

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TRANSITIONS

• Take-cut
• Fade- dissolve - super
• Wipe-split screen
• Special effects
• Keys, mattes
• Blue screen
• Digital effects

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SCENE CONSTRUCTION

• Shot-Sequence-Scene
• Continuity
• Pace, rhythm
• Time control
• Directionality
• 180 degree rule

12
SOUND IMAGE INTERACTION

• On vs. off screen
• Communitive vs. actual
• Synch vs. non-synch
• Parallel vs. contrapuntal
• Matching Pix to Sound
• Matching Sound to Pix

13
PRE-PRODUCTION PLANNING

• Director follows shooting script p. 134
• Storyboards, shot lists
• Director decides framing, transitions
• OFF-SET before studio
• With TD LD/DCs advice/approval

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PRODUCTION COORDINATION

• Meetings
• Casting
• Rehearsals
• Blocking p. 139
• Performers
• Camera

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MULTIPLE CAMERA DIRECTING I

• Advance planning critical
• Cant back up and restart
• Viewing 2-5 cameras simultaneously
• Calling all shows, audio
• Maintain timing, pacing, running time
• Precision Back timing

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MULTIPLE CAMERA DIRECTING I I

• Switcher p. 142
• Busses-program, preview, mix/effects
• Switching
• On command from director
• Command of preparation-ready/stand-bye
• Command of execution-same order

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SINGLE CAMERA DIRECTING I

• Film or video
• Careful advance planning
• Freedom to change during production
• Efficiency critical
• Shooting sequence
• Most expensive, then cheaper
• WS, groups, individual
• Cut-aways, cut-ins

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SINGLE CAMERA DIRECTING I I

• Script marking p. 143
• Shooting ratios
• Difference in calls
• Stand-bye
• Roll, (Wait)
• Slate
• Action
• Cut (only by director)