DIRECTINGDIRECTING

FormForm

FunctionFunction

THE DIRECTORTHE DIRECTOR Interpreter CreatorInterpreter Creator Benevolent dictatorBenevolent dictator All knowingAll knowing Writer, adapterWriter, adapter Budget consciousBudget conscious OrganizedOrganized

AESTHETICS IAESTHETICS I

FunctionFunction– Why something is expressedWhy something is expressed

FormForm– How something is expressedHow something is expressed

ContentContent– What is expressedWhat is expressed

AESTHETICS I IAESTHETICS I I RealismRealism– Content more than formContent more than form– Close to reality as media allowsClose to reality as media allows

ModernismModernism– Form more important than functionForm more important than function– Illustrates emotion, not realityIllustrates emotion, not reality

Post ModernismPost Modernism– Content is most importantContent is most important– Audience participationAudience participation

VISUALIZATIONVISUALIZATION FramingFraming CompositionComposition ContinuityContinuity SequencesSequences

FRAMINGFRAMING Types of shotsTypes of shots– XWS, LS, WS, MS, MCUXWS, LS, WS, MS, MCU– CU, XCU, 2-shotCU, XCU, 2-shot

AnglesAngles– POV, OSPOV, OS– Reverse angleReverse angle– Low, high, angleLow, high, angle– Overhead Overhead

MOVEMENTMOVEMENT Stable, mobile, unstableStable, mobile, unstable Pan, tilt, pedestalPan, tilt, pedestal Dolly, truck, arcDolly, truck, arc Crane, boomCrane, boom Aerial, body mountAerial, body mount ZoomZoom

COMPOSITION ICOMPOSITION I Aspect ratioAspect ratio– 3 x 43 x 4– 9 x 169 x 16

Essential-critical areaEssential-critical area– 10% rule10% rule

Rules of thirdsRules of thirds Symmetry, asymmetrySymmetry, asymmetry Closure, cut-off pointsClosure, cut-off points

COMPOSITION I ICOMPOSITION I I Nose-look-move roomNose-look-move room Depth-perspectiveDepth-perspective X, Y, Z axisX, Y, Z axis Moving shots, apparent movementMoving shots, apparent movement Scale-shapeScale-shape Image qualityImage quality

TRANSITIONSTRANSITIONS Take-cutTake-cut Fade- dissolve - superFade- dissolve - super Wipe-split screenWipe-split screen Special effectsSpecial effects– Keys, mattesKeys, mattes– Blue screenBlue screen– Digital effectsDigital effects

SCENE CONSTRUCTIONSCENE CONSTRUCTION Shot-Sequence-SceneShot-Sequence-Scene ContinuityContinuity Pace, rhythmPace, rhythm Time controlTime control DirectionalityDirectionality– 180 degree rule180 degree rule

SOUND & IMAGE INTERACTIONSOUND & IMAGE INTERACTION On vs. off screenOn vs. off screen Communitive vs. actualCommunitive vs. actual Synch vs. non-synchSynch vs. non-synch Parallel vs. contrapuntalParallel vs. contrapuntal Matching Pix to SoundMatching Pix to Sound Matching Sound to PixMatching Sound to Pix

PRE-PRODUCTION PLANNINGPRE-PRODUCTION PLANNING Director follows shooting script p. 134Director follows shooting script p. 134 Storyboards, shot listsStoryboards, shot lists Director decides framing, transitionsDirector decides framing, transitions OFF-SET before studioOFF-SET before studio With TD & LD/DC’s advice/approvalWith TD & LD/DC’s advice/approval

PRODUCTION COORDINATIONPRODUCTION COORDINATION MeetingsMeetings CastingCasting RehearsalsRehearsals BlockingBlocking p. 139p. 139– PerformersPerformers– CameraCamera

MULTIPLE CAMERA MULTIPLE CAMERA DIRECTING IDIRECTING I

Advance planning criticalAdvance planning critical Can’t back up and restartCan’t back up and restart Viewing 2-5 cameras simultaneouslyViewing 2-5 cameras simultaneously Calling all shows, audioCalling all shows, audio Maintain timing, pacing, running timeMaintain timing, pacing, running time Precision Back timingPrecision Back timing

MULTIPLE CAMERA MULTIPLE CAMERA DIRECTING I IDIRECTING I I

SwitcherSwitcher p. 142p. 142– Busses-program, preview, mix/effectsBusses-program, preview, mix/effects

SwitchingSwitching– On command from directorOn command from director– Command of preparation-ready/stand-byeCommand of preparation-ready/stand-bye– Command of execution-same orderCommand of execution-same order

SINGLE CAMERA DIRECTING ISINGLE CAMERA DIRECTING I Film or videoFilm or video Careful advance planningCareful advance planning Freedom to change during productionFreedom to change during production Efficiency criticalEfficiency critical Shooting sequenceShooting sequence– Most expensive, then cheaperMost expensive, then cheaper– WS, groups, individualWS, groups, individual– Cut-aways, cut-insCut-aways, cut-ins

SINGLE CAMERA DIRECTING I ISINGLE CAMERA DIRECTING I I Script markingScript marking p. 143p. 143 Shooting ratiosShooting ratios Difference in callsDifference in calls– Stand-byeStand-bye– Roll, (Wait)Roll, (Wait)– SlateSlate– ActionAction– Cut (only by director)Cut (only by director)