Developing Directing Skills for Factual Television
The course aims to enable new and less experienced directors to produce effective single camera pieces whether `stand-alone` or within programme strands. The principles of the course will apply to working with crews as well as to self-shooting.
Suitable for: Assistant Producers and Researchers who have had little or no formal training in camera craft, lighting and sound and who wish to gain a solid working knowledge of film grammar, location shooting and storytelling.
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Who is it for?
Assistant Producers and Researchers who have had little or no formal training in camera craft, lighting and sound and who wish to gain a solid working knowledge of film grammar, location shooting and storytelling. The course aims to enable new and less experienced directors to produce effective single camera pieces whether `stand-alone` or within programme strands. The principles of the course will apply to working with crews as well as to self-shooting.
Aims of day 1
To provide a thorough understanding of single camera
functionality and shooting techniques
To familiarise delegates with the camera, lenses, lighting and sound
To improve understanding of the digital production process
To provide a better knowledge of the language and
terminology used in film-making
Aims of day 2
To give an overall grounding in the principles of single-camera directing
Build a more assured approach on location
Enable directors to communicate more effectively with their teams
Develop editorial thinking in programme structure
and creative storytelling
Enable delegates to work effectively across a broader range of
styles and genres.
Day 1 – Bill Curtis has been a trainer in Lighting Camera and Production for the past 20 years. He is a partner in a production company working as Lighting Camera operator/Producer on corporate projects, and teaches `acting for the camera` in the higher education sector. Bill is a member of the Guild of Television Cameramen and of the Society of Television Lighting Directors
Day 2 – Nick Handel is an Executive Producer/Director specialising in documentary and factual entertainment. Now freelance after more then 30 years with the BBC, he is committed to passing on his experience to the next generation of programme-makers.Nick is a training associate with BBC Training and Development and runs many directing/creative production courses within the independent sector
Day 1 – Camera, Lighting and Sound
The day is designed to help delegates increase their knowledge of the terminology and technology of single camera production. It includes practical sessions using camera, lighting and sound to complement and add impact to a story. Key technical functions such as lenses, exposure and white balance are explained and demystified. The emphasis is on best craft practice and delegates will gain a better understanding of recording good quality pictures/sound whether working as self-shooters or directing a crew
Structure of day 1
Hands-on workshops covering:
What the camera can and cannot do
Lenses, depth of field, focus and angles of view
Auto-functions and their limitations
Principles of location lighting
Safe working practice and risk assessment
The basics of sound recording
Common microphones – their applications and limitations
Radio mics – how and when to use them
Shooting styles and language (actors are provided for these exercises)
Eyelines, describing POVs, crossing the line, sequences.
Interpreting visual language (perspective, depth of field,
track, zoom etc.)
Day 2 – Enhancing confidence and versatility in single camera direction
Designed to help delegates to increase their range and ability as directors and gain confidence in making their own pieces, whether inserts or complete programmes. The emphasis is on planning and directing sequences, story structure, communicating with a team and working with artists/presenters. While dealing principally with directing crews, the seminar also covers best practice in self-shooting and includes a section on interview technique.
Structure of day 2
The director`s role
Communicating with the team (crews, editors, presenters
Shooting sequences to tell stories using shot size, camera position, editing, movement and sound
Operating effectively on location
Directing factual sequences and actuality
(including self-shooting demonstration)
Principles of directing for drama and drama reconstruction
Storytelling – translating research into well-structured,
stylish and original television
The day ends with a session (including screened examples) on styles and genres in factual television.Categories include: reality, contemporary human interest, observational documentaries, formatted factual entertainment, drama reconstruction, magazine and consumer programmes and presenter-led docs. There will be a final question and answer session with both course tutors
2 days for 2 - 6 Delegates - £495
Developing Directing Skills for Factual Television