The Director’s Role

The TV director’s job can vary between organizations, and with the type of production. The director is often totally responsible for all aspects of the show – from the initial idea, right through to the finished tape. In other setups, the director is primarily concerned with interpreting and presenting the program material, while a producer deals with its organization and administration.

Whatever the job emphasis, the director is always the key figure in the production team, guiding, co-relating and unifying their efforts.

The director’s task

As you would expect different types of production mate their own particular demands on. the-director. In some, the director has continually to mate off-the-cuff decisions, split-second selections, anticipatory moves: presenting events clearly; missing no important action.

Shooting a sports event, the director arranges camera viewpoints to give the best coverage, but has. to rely on instant choice and a certain amount of luck for the maximum effect.

In a game show, the director provides a carefully prearranged framework for the action; but is ready to switch to catch the unexpected reaction.

In other types of production, every moment has been systematically planned. Camera and sound are used as.persuasive tools; to conjure a particular mood or atmosphere, to direct and influence the audience’s responses. In a drama production, the director carefully analyzes the-script, and envisions how it can be presented to create a sympathetic and interesting interpretation of the text.

Then there are the types of production, such as newscasts and magazine programs, where the director’s role is to provide and control a presentational framework; to present a series of separate items or ‘stories’ that have been developed by a team of researchers, journalists, etc.

The director’s approach

There are two extreme ways in which directors work:

• The selective approach Here, having developed and organized the production format the director mainly relies on the team to contribute their pirticular expertise; e.g. camera operators offering the most effective shots. The setting and the lighting treatment are created by their respective experts.

The director assesses their contributions, and suggests any changes. But for the most part he/she concentrates on action, performance, shot development, switching. When controlling a fast-moving live production, this approach may be the most practical.

• The director as the originator, Here the director plans the production in great detail, and relies on the team to follow these specifications, and bring these ideas to life. Guided by the director’s ideas about settings, picture composition, etc., they organize and arrange the mechanics to translate these decisions into material form.

In practice, of course, we find something of each of these approaches in everyday production.

The director’s job has many facets!

Analysis

• Assessing program ideas

• Building them into a coherent theme

• Considering how to present that theme

• Judging its effectiveness

Explanation

• Describing program concepts to the production team

Consulation/technical planning

• Checking methods, techniques, equipment, staging, safety, regulations, etc.

Organization

• Arranging budget, services, personnel, casting/booking talent, booking facilities, etc.

• Productionai paperwork (scripts, order forms, booking, etc.)

• Arranging contributory items (e.g. titling, graphics, video effects, music, library/stock inserts)

Guidance (during planning, rehearsal recording)

• Guiding talent/performers (re positions, moves, timing, delivery/etc.)

• Guiding team (re shots, switchings-sound, lighting, setting, graphics, costume, makeup, etc.)

• Selecting, modifying, suggesting changes

• Cuing (talent, action, movement, switching, etc.)

• Rationalizing (resolving operational/staging problems)

Coordinating

• Contributory services (videotape and film channels)

Evaluating

• Checking artistic values (e.g. performance, pace)

• Checking action, dialogue/lines

• Checking camerawork (e.g. framing)

• Checking durations of sequences/program

• Assessing needs for retakes, or alterations

Editing

• Off-line editing (determining editing/changes/treatment needed)

• On-line editing (guiding/assessing post-production editing)

Publicity

• Organizing/contributing publicity material