5/3/2019 - first rehearsal
Because of this, we also discussed the best places for the props and the games. This was useful because we were able to use our own team's knowledge of shots and cameras, and combine it with the set design team's knowledge of what was possible in terms of how sets are built and can function within a studio.
We then started with an initial stumble-through of the show. A stumble-through is the first run of the show, during which the director blocks using the cameras, mostly staying in the gallery unless they are needed for a discussion on the studio floor (Owens & Millerson, 2009:373).
This is the first stage of rehearsals, giving the crew and director time to figure out how to get adequate coverage, as well as where any subjects will stand, also possibly marking these on the set (Brown & Duthie, 2016:5). However, I had prepared for this first rehearsal by creating some initial camera plans, showing an idea of where the cameras would be, and where the talent would be positioned (Rooney & Belli, 2013:78). To do this, I broke the show down into six separate sequences - the opening, games 1-4 and the closing.
This helped me get used to directing the crew, and also showed where and how the initial camera plans needed to change in regards to the space where the set would be.
8/3/2019 - meeting with the DOP
Because of this, I then met with our director of photography, since their main responsibility is to help the director "realise their vision" for the show (Brown & Duthie, 2016:51).We worked to make camera cards and overhead diagrams (building on rough ones I had pencilled out for the first rehearsal) showing the positions of the cameras, audience, props, and set to help save time during rehearsals.
Fig. 1 Sample camera card layout. (2011)
When making camera cards, we used this example (see fig. 1), ensuring each card had all the details needed for only that camera, including:- The show's title and the camera's number
- Page number
- Shot number
- Position - we decided to denote these by letters with cameras moving during the VTs for convenience
- Description of the shot needed - for example, "follow contestants as they enter"
- Space for notes for the camera operator
(Singleton-Turner, 2011:147).
However, to further the segments of the show I had already broken down, we further split each game up into pre-game conversation, as-directed game, and post-game conversation, since these each required movement from the contributors and thus different shots for each camera.
11/3/2019 - creating camera packs/sorting paperwork
However, after creating the camera cards and overhead diagrams, I thought it was important for the camera operators to always be able to access paper copies of them so they knew what they each had to shoot and where their camera needed to be positioned to achieve this.
Thus, I decided to create camera packs for each camera operator, so that they could be taped to their tripods and therefore always accessible to them during rehearsals. It has been said that planning like this can help make a live transmission smoother since a director may cut the shots as planned, yet there could also be instances where the shots are put on air spontaneously, for example, during an as-directed sequence, therefore, planning helps ensure the quality of these shots is still upheld (Owens & Millerson, 2009:30).
Thus, I decided to create camera packs for each camera operator, so that they could be taped to their tripods and therefore always accessible to them during rehearsals. It has been said that planning like this can help make a live transmission smoother since a director may cut the shots as planned, yet there could also be instances where the shots are put on air spontaneously, for example, during an as-directed sequence, therefore, planning helps ensure the quality of these shots is still upheld (Owens & Millerson, 2009:30).
12/3/2019 - first full stumble-through
This paperwork could then be used during our second rehearsal, when we managed to get through the full show for the first time.
When directing during these earlier stages, I found it was useful to make lots of script markings, since the camera cuts were not set yet, and I was still getting used to cueing in VTs, GFX, and music, even if none were actually playing yet. Although, as rehearsals went on I began to mark the script less, as I found that having too many instructions written on the script was distracting and meant I wasn't looking at the monitors as much as I should be.
It is more helpful for a director to only "glance" at the script whilst the show runs, since they are then better able to catch mistakes and cut around them, or cut to a shot which, although not planned, actually works better (Utterback, 2016:161).
Regarding shots for these segments, this helped give the camera operators and I a better idea of what each camera could film during the games from their positions - their "'library' of shots" - thus, making the as-directed segments slightly less unpredictable, since each camera operator was able to get some idea of what they might be required to film during these segments (Singleton-Turner, 2011:223).
18/3/2019 - meeting with the set design team
Our producer and I met with the set design team to see how the set was progressing. This was useful since we got to try out some of the games, and I got more of an idea on how they would look on camera.
For example, at the end of the pipe game we had to make sure there was enough 'fuel' flowing through the pipes so it was visible on camera, and that one game didn't include a surface which reflected too much light. Overall, the set was progressing really well, and from this we could better understand how everything was going to fit together in the studio.
19/3/2019 - working with the presenter & first full run-through
Because we had already run through the whole show during the previous rehearsal, we were able to make more changes to the plans, further refining the show, which the camera operators could then get used to during this rehearsal.This was also the first rehearsal where we worked with our presenter, therefore we went through all the games separately again, using the same method as in the previous rehearsals where we spilt the show into six segments using the VTs as stopping points - the entrance, four games, and the closing - since this is where the cameras, and also in some cases the presenter and contestants, changed positions.
Rehearsing only a segment at a time like this allows for the talent "to learn their lines and practice their performance until it flows naturally and the show runs smoothly" (Owens & Millerson, 2009:369). This helped the entire crew since it further helped the show run closer to how it will on transmission day, thus the PA could get a better idea of timing, the camera operators were able to see which camera the presenter would speak to when, the floor manager could practise cueing the presenter in using hand signals, and as the director, I could work out where were the best places for the presenter to stand more effectively, and thus mark them on the floor so they could be fully rehearsed.
Therefore, we also had enough time during this rehearsal to do our first full run-through with the presenter, which we managed to get through twice.
26/3/2019 - refinements & several run-throughs
Because throughout the rehearsal process we had discovered elements of the show were better the more rehearsed they were, we found that it was better if everything was rehearsed, especially if I was going to get used to cueing it in. This is because:
“Technical proficiency is gained in any television production environment through practice, rehearsal, and repetition. The only path to true fluency in any crew position is the practical performance of studio television work in a professional environment”
(Utterback, 2016:1).
Thus, during this rehearsal, we cued in the actual VTs (excluding the titles and credits) as well as sound effects, GFX, and music.We again started by running through each segment separately, stopping and starting, since there were some changes to the script which everyone had to learn, but since we had practised run-throughs during previous rehearsals, we were much quicker. We therefore had time after running through the segments to run through the show three more times in full, and thus the PA got a more accurate run time, which was closer to half an hour than all of our previous full run throughs.
However, during this rehearsal, the fire alarm also went off, yet this was useful because we all learnt the procedure for dealing with one if it happened while we were on air. As the director, because the alarm is silent on the studio floor, it was important that the instruction I gave over talkback was clear so everyone instantly knew what was happening. Since I had been saying "hold it" at the end of each rehearsal, I added to this "fire alarm, everybody out".
In this case we weren't on air and it was only the level 1 beeping alarm that went off so we didn't need to evacuate, but if this happened while we were on air we would need to use this time to prepare to evacuate - the floor manager would ensure fire exits were accessible on the floor, the director would standby the crew to go off air etc. - before the actual fire alarm went off and we needed to all leave the building (Fairweather, 1998:177).
28/3/2019 - updating paperwork for transmission
During all of these rehearsals, many changes were made as to what shots each camera was getting, the positions of the cameras, and the shot numbers, since we were still refining which camera was going to be cut to when and testing which camera could get the best angle on certain subjects or elements of the games. However, run throughs helped me make these decisions, which I could then add to the paperwork.
Due to the changes, the biggest being the re-positioning of game one, I made new camera packs for transmission day to ensure the camera operators are prepared, and so everything can run quicker during the last rehearsals, since we have limited time, and also smoothly during transmission.
This helped me update the cut lines, and shot and camera numbers within the script, and also make sure these matched the shot numbers on the camera cards, since I have found that it is easier to state which shot number we are going to rehearse from, as this avoids confusion.
2/4/2019 - getting ready for transmission
I gave this paperwork to the camera operators during the production meeting the day before our last rehearsal day so that they could be better prepared. This was because we had limited time during these last rehearsals since the set had to rigged, as well as the lights beforehand.
Thus, on entering the studio, the producer and I met with the lighting and sound professionals for the first time and briefed them on what we wanted for the show. This was especially important for the lighting, since I didn't make a lighting plan. Instead, we had decided to ask for flat lighting since the contestants would be moving around the set a lot during the show, but also give the lighting team the creative freedom to do what they thought was best, since they were experts and thus would know how to best use the resources they had (Rooney & Belli, 2013:97).
Therefore, we were able to do several run throughs of the show with everyone practising their roles as they would be during transmission.
However, at the end of these rehearsals, we decided to change the jib to a camera on a pedestal since it couldn't get straight shots.
3/4/2019 - transmission!
Fig. 2 YouTube:
Thus, on the morning of rehearsals before transmission in the afternoon, I talked through the shots this new camera would be getting with the camera operator. We decided that the shots would be the same as we rehearsed with the jib, but rather be stationary, still acting as a wide shot showing all the contributors which could be cut to at any time as a "safety shot" (Singleton-Turner, 2011:237-8).
I also went round to each crew member, checking for any last minute concerns or problems. The paperwork for the camera operators helped with this, since I found that it gave them a sense of security, especially when we changed the jib.
We did two last run throughs, making sure everything was ready for transmission. This most helped with the lighting, sound, and set, because they had only set up the day before. Thus, the lighting was able to be refined, adding flashes and colour which helped add depth and also set the tone for certain segments, such as the different colours during the running (Singleton-Turner, 2011:198) - (see fig. 2).
After the producer and I introduced the contestants to the presenter and walked them through the set, the audience were brought in and we were ready to go live.
I didn't make as many script markings for transmission as I had during rehearsals, since I was already pretty well orientated and had got into a habit of cueing VTs, music and GFX in. I mainly just circled the VTs in case I forgot where they needed to roll.
However, during the show, I didn't do more than glance at the script a few times, mostly during the VTs. I found that it was better to have a kind of tunnel vision, since there was so much going on, and so much of it, such as the games, was unpredictable (Rooney & Belli, 2013:241). There also weren't many breaks, only the VTs, so I had to keep up with the show in case there was anything that needed to be cut around (Utterback, 2016:156).
The vision mixer and I found that the best way to do this was to watch the smaller monitors, since each one showed each cameras' output, and thus we could look out for what would be able to effectively show the story to the audience (Singleton-Turner, 2011:396). For example, we both got into the habit of anticipating when the presenter would mention the audience, and get them to cheer for the contestants or boo for the villain, because at this point we knew we would need to cut to a shot of the audience to show their reaction.
Overall, the show went well because everyone was coordinated and knew what they needed to do, which helped make the show a success (Utterback, 2016:156). I found that because of this it was easier to stay calm during transmission because so much had been prepared during pre-production (Rooney & Belli, 2013:261).
This was the main thing about being a studio director - it was important to stay calm and level-headed, not only during transmission, but throughout rehearsals, because, as director, I needed to guide the crew, and keep their morale and energy up, so that the show could keep running smoothly, solving any problems that arose (such as people in the back of audience being visible in the locked-off audience shot) during the VTs or when that camera wasn't on air.
I also went round to each crew member, checking for any last minute concerns or problems. The paperwork for the camera operators helped with this, since I found that it gave them a sense of security, especially when we changed the jib.
We did two last run throughs, making sure everything was ready for transmission. This most helped with the lighting, sound, and set, because they had only set up the day before. Thus, the lighting was able to be refined, adding flashes and colour which helped add depth and also set the tone for certain segments, such as the different colours during the running (Singleton-Turner, 2011:198) - (see fig. 2).
After the producer and I introduced the contestants to the presenter and walked them through the set, the audience were brought in and we were ready to go live.
I didn't make as many script markings for transmission as I had during rehearsals, since I was already pretty well orientated and had got into a habit of cueing VTs, music and GFX in. I mainly just circled the VTs in case I forgot where they needed to roll.
However, during the show, I didn't do more than glance at the script a few times, mostly during the VTs. I found that it was better to have a kind of tunnel vision, since there was so much going on, and so much of it, such as the games, was unpredictable (Rooney & Belli, 2013:241). There also weren't many breaks, only the VTs, so I had to keep up with the show in case there was anything that needed to be cut around (Utterback, 2016:156).
The vision mixer and I found that the best way to do this was to watch the smaller monitors, since each one showed each cameras' output, and thus we could look out for what would be able to effectively show the story to the audience (Singleton-Turner, 2011:396). For example, we both got into the habit of anticipating when the presenter would mention the audience, and get them to cheer for the contestants or boo for the villain, because at this point we knew we would need to cut to a shot of the audience to show their reaction.
Overall, the show went well because everyone was coordinated and knew what they needed to do, which helped make the show a success (Utterback, 2016:156). I found that because of this it was easier to stay calm during transmission because so much had been prepared during pre-production (Rooney & Belli, 2013:261).
This was the main thing about being a studio director - it was important to stay calm and level-headed, not only during transmission, but throughout rehearsals, because, as director, I needed to guide the crew, and keep their morale and energy up, so that the show could keep running smoothly, solving any problems that arose (such as people in the back of audience being visible in the locked-off audience shot) during the VTs or when that camera wasn't on air.
List of illustrations
Figure 1. Sample camera card layout. In: Singleton-Turner (2011) Cue & Cut: A Practical Approach to Working in Multi-Camera Studios. Manchester: Manchester University Press. p. 147.
Figure 2.
Figure 2.
References
Brown, L. & Duthie, L. (2016) The TV Studio Production Handbook. London: I.B. Tauris & Co. Ltd.
Owens, J. & Millerson, G. (2009) Television Production. (15thed.) Oxon: Focal Press.
Rooney, B. & Belli, M. (2013) Directors Tell the Story: Master the Craft of Television and Film Directing. Oxon: Focal Press.
Singleton-Turner, R. (2011) Cue & Cut: A Practical Approach to Working in Multi-Camera Studios. Manchester University Press: Manchester.
Utterback, A. (2016) Studio Television Production and Directing: Concepts, Equipment, and Procedures. (2nded.) Oxon: Focal Press.
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