DIRECTING FormFunction

THE DIRECTOR  Interpreter Creator  Benevolent dictator  All knowing  Writer, adapter  Budget conscious  Organized

AESTHETICS I  Function –Why something is expressed  Form –How something is expressed  Content –What is expressed

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

VISUALIZATION  Framing  Composition  Continuity  Sequences

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

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

COMPOSITION I  Aspect ratio –3 x 4 –9 x 16  Essential-critical area –10% rule  Rules of thirds  Symmetry, asymmetry  Closure, cut-off points

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

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

SCENE CONSTRUCTION  Shot-Sequence-Scene  Continuity  Pace, rhythm  Time control  Directionality –180 degree rule

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

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

PRODUCTION COORDINATION  Meetings  Casting  Rehearsals  Blockingp. 139 –Performers –Camera

MULTIPLE CAMERA DIRECTING I  Advance planning critical  Can’t back up and restart  Viewing 2-5 cameras simultaneously  Calling all shows, audio  Maintain timing, pacing, running time  Precision Back timing

MULTIPLE CAMERA DIRECTING I I  Switcherp. 142 –Busses-program, preview, mix/effects  Switching –On command from director –Command of preparation-ready/stand-bye –Command of execution-same order

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

SINGLE CAMERA DIRECTING I I  Script markingp. 143  Shooting ratios  Difference in calls –Stand-bye –Roll, (Wait) –Slate –Action –Cut (only by director)