Director Training 101 Celebration Church. 2 Course goals Successful Directing in a LIVE production environment Working with a Production Team.

Director Training 101

Celebration Church

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Course goals

• Successful Directing in a LIVE production environment

• Working with a Production Team

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Course contents

• Part A: Overview

• Part B: Pre-Production and Checklist

• Part C: Working with Camera Operators

• Part D: Framing and Directing multi-camera

• Part E: Working with the Production Team

Directing 101

Part ADirector Overview

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In a television studio, or motion picture stage, the single most important person to the success of the production, is the Director. The Director captures the creative vision for the entire project, and it is that vision that guides the camera people, and visual programming. At Celebration, the TV Directors work hand in hand with the Producers, Pastors, Production Managers, Camera, Audio, Lighting and IMAG team members. Visually, they set and keep the pace in a LIVE production. Directors are creative problem solvers who maintain the integrity of the production. More importantly, the Director is simply telling a story. Through properly framed shots, setting the pace of camera switching and their verbal tone, they tell the story through the eye of the camera. That’s your job! Tell a great story.

Overview: The Director

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The Director

Any director worth the title can stay on top of things when the crew, talent, and equipment perform exactly as expected. But much of the value and respect that people place on directors depends on their ability to stay in control when things don't go as planned and new procedures suddenly have to be improvised.

A Team member or on-camera person may get sick, a studio camera may go out, or a mic may suddenly fail. Vacillating, giving mixed signals or not being able to make a decision at a crucial time can result in production paralysis.

In large-scale productions, like our weekend services, everyone is typically working under pressure. Directors must be able to control their own tension and anxiety while being sensitive to the differing abilities and temperaments of Pastors, Leaders and Crew — not an easy task when they have responsibility for everything.

A heavy-handed approach with the wrong person can temporarily destroy that person's effectiveness and turn a bad situation into a disaster. Conversely, a mealy-mouthed approach that elicits no respect or leadership ability can be just as bad. 

Camera 101

Part CWorking With Camera

Operators

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Working With Camera OperatorsFor every audio or video event that takes place during a production several behind-the-scenes

production steps are typically required.

Because production involves the activities of numerous crew members -- the number can range from 6 to more than 60 -- the director's instructions must be clearly and succinctly phrased.

Even the word sequence is important.

If the director says, "Will you pan to the left and up a little when you lose your tally light (or cue) on camera one," all camera operators must wait until the end of the sentence before they know who the director is talking to; and then they must remember what the instructions were.

However, if the director says, "Camera one, when you lose light, pan left and up a little," the first two words indicate who, the next four words tell when, and the last six words indicate what. Since we use verbal cues in Heroes, for now, then obviously this changes to a verbal cue.

After the first two words, crew members know that only camera one's operator is being addressed. This will get the attention of the camera one operator, and the rest of the crew members can concentrate on their individual tasks.

The "when" in the sentence tells the camera one operator not to immediately pan and tilt, but to prepare for a quick move once the camera is cued verbally (Heroes) or the tally ("on-air") light (Main Sanctuary) is off. This may involve loosening the pan and tilt controls on the camera's pan head and being ready to make the adjustment -- possibly within the brief interval when the director switches to a reaction shot.

Even a one- or two-second delay can make the difference between a tight show and one where the production changes lag behind the action.

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Working With Camera Operators cont..

If you’ve already run camera or shadowed the TV Director, Note the constant use of the terms "ready" and "standby" in the director's dialogue.

During a production, crew members are normally thinking about or doing several things at once, including listening to the TSC (Technical Service Director) or producer, concentrating on the audio feed; "Standbys" warn them of upcoming actions.

They also protect the director.If a "standby" is given in reasonable time, the director has every right to expect the crew

member involved to be prepared for the requested action — or to quickly tell the director about a problem.

But if the director simply blurts out, "Take one!" when the cameraperson is not ready, the audience may see a picture being focused, complete with a bad quick zoom in and out. Since no "standby" warning was given, the director can hardly blame the cameraperson.

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Working With Camera Operators

Framing The Shots• As best we can, we try to always see both of the speakers eyes in the shot. NEVER the

back of the speakers head, unless the speaker is illustrating something on stage.(A lot of the time we try to get at least one eye)• Always analyze an iris or color issue before it goes live.• Think 2 shots ahead and do your best to keep your camera operators on that pace, as

well.• Always maintain a positive voice presence over the comm link.• Pay attention to the Service Producer (TSC) cues and facilitate the IMAG presentation

by what your capturing.

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Terminology: Function

Pan - Side-to-side camera movement.

Tilt - Up-and-down camera movement.

Zoom - In-and-out camera movement (i.e. closer and more distant).

Iris (Exposure) - The opening which lets light into the camera. A wider iris means more light and a brighter picture.

White balance - Adjusting the colors until they look natural and consistent.

Shutter - Analogous to the shutter in a still camera (1/24, 1/30, etc..).

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Terminology: Function

Tally Light – This is a recording indicator light. When the tally light is lit it will let anyone in front of the camera see that it is active. This light is also visible above the view finder screen. This lets the camera operator know that your image is currently on screen and to not alter the shot drastically.

Tripod – Camera 1 is mounted to a tripod. The tripod is used to create a stable smooth shot.

Crane/Jib (Heroes Auditorium only)– Camera 2 is mounted to a crane or jib. Similar to a tripod this is used to create a stable smooth shot, while also giving the camera two more degrees of motion adding a “floating” up and down movement as well as a “gliding” side-to-side motion.

Camera Head – This device is also used to make the movement of the camera smoother. There are adjustments to this device that create “drag”, allowing the operator full range of motion, but with better control.

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Composition and Framing

Shot: All video is made up of shots. A shot is basically from when you go LIVE, press record or when you stop recording. Like the individual photos which make up an album, the shots get put together to make a video presentation.

Framing & Composition: The frame is the picture you see in the viewfinder (or on a monitor). Composition refers to the layout of everything within a picture frame — what the subject is, where it is in the frame, which way it's facing/looking, the background, the foreground, lighting, etc. There are many ways to compose a shot, depending on your goals. You want to be aware of what is in the shot and what isn't. Can you clearly see what you intend for the viewer to see?

When you "frame" a shot, you adjust the camera position and zoom lens until your shot has the desired composition.

There is a general set of rules in the video industry which describe how to frame different types of camera shots, such as the ones illustrated below

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Shot Types

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Shot Types cont.

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Unbalanced

Balanced

Always leave visual room for the subject in the shot. If they look away from the direction of the camera, give them “Visual Room”.

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Composition and Framing cont..

Waist up or “Cowboy up” – This framing call has the subject framed from the top of the thigh or waist up to the top of their head. Not quite a close up shot, but could be used as a starting point for a zoom to close up creating a sense of drama.

Full body or “Head-to-Toe” – This framing call shows the subject completely from head to toe. A typical shot for Camera 2 it may also include some of the audience as well. Some of the better head-to-toe shots are from a slightly higher camera angle.

Rule of Thirds – This classic rule suggests that the center of the camera's attention is one-third of the way down from the top of the shot. (see “Rule of Thirds” section below)

Headroom – This refers to the space above the subject's head. You'll see different amounts of headroom, depending on the intent of the operator. In general, if you're on Camera 1 tracking pastor around the stage you will want to try to leave little or no headroom. However, on Camera 2 you may want to leave a little headroom or even show as high as the top of the stage depending the angle of your shot. By leaving headroom, or space on either side of the subject, you are imitating what you see in real life which may not be useful.

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Composition and Framing cont..

Talking/Walking Room – You create talking/walking room by putting the cross in the center of the view finder slightly in front of the subject. If pastor is speaking from a stationary position, you may be at an angle where he is looking off to the left or right of the camera a bit. When this happens, frame your shot so that there is some talking room. That is, you want to leave some extra space in front of their face as if you were going to draw a dialogue box in for them. If pastor or the subject of the shot is in motion, give them space to walk in to. Walking Room leaves space in the shot for the action. The amount of walking room is determined by the speed of the subject. If they are moving back and forth quickly, then you may want to increase the amount of walking room.

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Composition and Framing cont..

RULE OF THIRDSIn your mind draw a grid on the viewfinder THREE ROWS ACROSS AND THREE

ROWS DOWN - you will use the tic-tac-toe grid to align your pictures.

Top 1/3 Left

Top 1/3 Center

Top 1/3Right

C 1/3 Left

C 1/3 Center

C 1/3 Right

BTM 1/3 Left

BTM 1/3 Center

BTM 1/3 Right

This rule is particularly important with camera shots during service because a lot of the time there will be text, either bible verses or song lyrics, in the lower third or bottom of the screen. Because of this you will want the focus of your shot to be in the upper two thirds of the shot. This is definitely the case during the praise and worship part of the service, but should also be in mind during the message was well.

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SHOT ANGLESYour shot angle is the level from which you look at your subject.Eye Level Angle – One of the most commonly used shots is the eye-level shot, because it's the perspective most familiar to us. We usually see things from our own eye-level. This angle also causes the least discomfort because we're used to it. This is the angle that Camera 1 is designed to provide.Low Angle – In this shot, the camera looks up at the subject, making it seem important, powerful, or perhaps larger than it is to the viewer. (Example: Camera 2 provides this angle by lowering the crane or “jibbing down” to its lowest level and zooming in as far as possible.)High Angle – In this shot, the camera looks down on the subject. The subject looks smaller. (Example: This angle is provided by Camera 2 by lifting the crane or “jibbing up” to as high of a level as possible.)

Composition and Framing cont..

Camera 101

Part CDirector Calls and Camera

Operator

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COMMON CAMERA SHOTSThere are three “go to” or basic camera shots the Director will call:Wide shot – Also known as Establishing Shot or Long Shot. This shows virtually the whole auditorium. Frequently you'll see services begin with this shot. It's helpful because it sets the stage - the viewer gets oriented to where they are. These shots are also good if there's a lot of movement on stage because there is plenty of room to move around. This shot might show a few rows of people or the whole audience depending on the situation. To get this shot, you will need to zoom out as far as you can. This shot is rarely used on Camera 1, but is very common on Camera 2.Medium Shot – Medium shots show less of the auditorium than the wide shot, typically only showing the stage or may include the first couple rows of the audience. The camera seems closer to the subject. Use this when you want a closer look at your subject, or when you need to transition between wide shots and close up shots, it can be difficult for the viewer to follow what you are doing if you go straight from a wide shot to a close up shot.Close Up Shot (or “tight”) – This is basically is an Extreme Close-up. (illustrated above)

Director and Camera Operator

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SHOT MOVEMENT“Pan” – A shot taken moving on a horizontal plane, from left to right, right to left. This movement is used to track pastor or the subject as they walk back and forth across the stage.“Tilt” – Camera movement in a vertical plane, up or down. You would use this movement to track pastor or the subject if they step down into the audience from the stage or while zooming in and out to keep the subject in the frame.“Zoom In” – This shot movement brings you closer to the subject without moving the camera. For example, from a wide shot to a medium shot or close shot. If you are looking at the stage, and you want to see individual people standing on it, you would zoom in.“Zoom Out” – This shot moves you farther away from the subject. For example, if you start on one particular singer but wanted your ending shot to include the whole choir, you can reverse zoom.

Director and Camera Operator cont…

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OTHER CONCEPTS Cutaway Shot – A cutaway is a shot away from the main action. This is used a lot in interviews to show the person who's asking the questions, but is also used in Celebration Church services occasionally. An example would be if the pastor tells a joke or asks for a response from the audience a cutaway shot could be used to show the audience for a moment.“Two Shot” “Three Shot” – A two shot has two people in the frame. A three shot has three people in the frame etc... Because you have to be some distance from the people to get them all in the frame, this is usually a medium or wide shot. Typically this shot is only used if the pastor as asked someone else to come on stage for one reason or another.Group Shot – Generally this shot includes a cluster of subjects in a given area.Sequence – A term used in gathering video and editing. It refers to a series of related shots. For example, a sequence could be a wide shot of the Auditorium, followed by a medium shot of the performers on the stage, followed by a single vocalist or musician.

Director and Camera Operator cont…

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NOTES