COMM 119 TVPI - Chapter Four THE DIRECTOR (PP #8) NEW

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Information about COMM 119 TVPI - Chapter Four THE DIRECTOR (PP #8) NEW
Entertainment

Published on March 12, 2014

Author: ericluther355

Source: authorstream.com

CHAPTER FOUR: THE DIRECTOR IN PREPRODUCTION: CHAPTER FOUR: THE DIRECTOR IN PREPRODUCTION COMM 119: TV Production I THE DIRECTOR: THE DIRECTOR PREPRODUCTION FOCUS What The Show Is All About Script Analysis Visualization & Sequencing Preparing for the Show THE DIRECTOR: THE DIRECTOR PREPRODUCTION FOCUS What The Show Is All About PROCESS MESSAGE – What are you doing this for? PRODUCTION METHOD – How are you going to do it? THE DIRECTOR: THE DIRECTOR MAIN POINTS A clear understanding of the process message (desired effect) will help you decide on the most appropriate type of production and the medium requirements THE DIRECTOR: THE DIRECTOR MAIN POINTS Are you “LOOKING AT” or “LOOKING INTO” something? OBSERVATION vs. REVEALING will help determine your approach and needs. THE DIRECTOR: THE DIRECTOR PREPRODUCTION FOCUS Script Analysis LOCKING-IN POINT & TRANSLATION THE DIRECTOR: THE DIRECTOR MAIN POINTS A careful script analysis should lead to a locking-in point – an especially vivid or aural image – that determines the subsequent visualization and sequencing THE DIRECTOR: THE DIRECTOR PREPRODUCTION FOCUS Visualization & Sequencing FORMULATING THE PROCESS MESSAGE = VISUALIZATION! VISUALIZATION LEADS TO DETERMINING MEDIUM REQUIREMENTS THE DIRECTOR: THE DIRECTOR MAIN POINTS Visualization (mentally seeing and hearing key images) is crucial for the successful translation of script to screen event THE DIRECTOR HAS TO SEE “IT” IN HER MIND IN ORDER FOR OTHERS TO SEE “IT” THE DIRECTOR: THE DIRECTOR MAIN POINTS Again, use your PROCESS MESSAGE as your guide (page 60 for examples) If you’re not “seeing it”, your process message may not be specific enough VISUALIZATION: VISUALIZATION You are to direct three segments of a program series on teenage driving safety. 1 st : An interview between the female community service show host and a male police officer who heads the municipal traffic safety program and a female student representative of the local high school. VISUALIZATION: VISUALIZATION 1 st PROCESS MESSAGE : The interview with the traffic officer and the representative should demonstrate to high school and college students a 10-point traffic safety program to help them become more responsible drivers. It should also demonstrate how police and students could cooperate in this effort. VISUALIZATION: VISUALIZATION You are to direct three segments of a program series on teenage driving safety. 2 nd : Interview with a male high school student who has been confined to a wheel chair since a serious car accident. VISUALIZATION: VISUALIZATION 2 nd PROCESS MESSAGE : The interview with the student in the wheelchair should make viewers gain a deeper insight into his feelings and attitudes since his accident and empathize with him. VISUALIZATION: VISUALIZATION You are to direct three segments of a program series on teenage driving safety. 3 rd : A demonstration of some potential dangers of running a stop sign. VISUALIZATION: VISUALIZATION 3 rd PROCESS MESSAGE : The program should show viewers at least four different accidents caused by running a stop sign and demonstrate how to avoid them. THE DIRECTOR: THE DIRECTOR PREPRODUCTION FOCUS Preparing For The Show INTERPRETING A FLOOR PLAN & LOCATION SKETCH When preparing the show for the actual production day, you must interpret the floor plan or location sketch and mark the script THE DIRECTOR: THE DIRECTOR MAIN POINTS The floor plan or location sketch enables the director to plan camera and talent positions and traffic THE DIRECTOR: THE DIRECTOR MAIN POINTS Use floor plan/location sketch along with your visualizations like a puzzle to make sure all the pieces are going to fit. Are there any obvious problems? THE DIRECTOR: THE DIRECTOR PREPRODUCTION FOCUS Preparing For The Show STORYBOARDING Use Index Cards/Template/Computer Program to Draw Shots of Scenes Use Outline/Script and Location Photos as Basis for Storyboards Solid Preparation = Solid Production THE DIRECTOR: THE DIRECTOR MAIN POINTS The storyboard shows drawings or computer-generated images of key visualization points of an event with accompanying audio information as well as the proper sequencing of shots THE DIRECTOR: THE DIRECTOR STORYBOARD EXERCISE WATCH VIDEO EXAMPLES DO STORYBOARD OF YOUR OWN OF A SHORT SEQUENCE (six shots) THE DIRECTOR: THE DIRECTOR STORYBOARD EXERCISE “THE YOUNG BOY FINDS A PUPPY IN AN ALLEY” (no dialogue) Be Creative and Visualize! Be Specific and Concise! Be sure to include audio cues when necessary! THE DIRECTOR: THE DIRECTOR PREPRODUCTION FOCUS Preparing For The Show MARKING THE SCRIPT When preparing the show for the actual production day, you must interpret the floor plan or location sketch and mark the script THE DIRECTOR: THE DIRECTOR MAIN POINTS Precise and easy-to-read script markings help you and other production personnel anticipate and execute a great variety of cues THE DIRECTOR: THE DIRECTOR MAIN POINTS The important aspects of good script marking are readability and consistency Try to use standard marks and obvious abbreviations THE DIRECTOR: THE DIRECTOR Multi-Camera Studio Shooting Which Camera? C1, C2, C3, etc. What’s the shot? CU, MS, OTS, XCU, 2-S, etc. What else needs to happen? Roll VO, Roll Opening Credits, Roll Theme Music, etc. BASIC CAMERA SHOTS: WS/LS ECU/ X CU ELS/EWS XLS/XWS MS MCU CU BASIC CAMERA SHOTS TWO SHOT (2-S): TWO SHOT (2-S) OVER THE SHOULDER SHOT (OTS, O/S): OVER THE SHOULDER SHOT (OTS, O/S) CROSS SHOT (X/S): CROSS SHOT (X/S) THE DIRECTOR: THE DIRECTOR COMMUNICATION & SCHEDULING SUPPORT STAFF: Floor Manager Production Assistant Associate/Assistant Director THE DIRECTOR: THE DIRECTOR MAIN POINTS The Director’s immediate support staff normally comprises a floor manager, a PA (production assistant), and, in larger productions, an AD (associate or assistant director) THE DIRECTOR: THE DIRECTOR COMMUNICATION & SCHEDULING FACILITIES REQUESTS The facilities request is an essential communication device for procuring the necessary production facilities and equipment THE DIRECTOR: THE DIRECTOR COMMUNICATION & SCHEDULING BIG PICTURE: The production schedule shows the preproduction production, and postproduction dates and who is doing what, when, and where THE DIRECTOR: THE DIRECTOR COMMUNICATION & SCHEDULING DAILY SNAPSHOT: The timeline shows a breakdown of the time blocks for various activities on the actual production day QUIZ #4: QUIZ #4 Due to time constraints, we’re taking QUIZ #4 here together in class. LOOKING AHEAD: LOOKING AHEAD GROUP LAB TIME GROUP GUEST SELECTION TAPING PREPARATION THE MAURY SHOW (4/2)

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