13
Chapter 19
Production
Staging and
Interacting with
Talent
Areas on a Set . . . . . . . . . . . . . . . . . . . . . 376
Camera Staging . . . . . . . . . . . . . . . . . . . .377
Vector Line . . . . . . . . . . . . . . . . . . . . . .380
Cutaways and B-Roll . . . . . . . . . . . . . .381
Jump Cuts and Errors in
Continuity . . . . . . . . . . . . . . . . . . .382
Production Equipment in
the Shot. . . . . . . . . . . . . . . . . . . . . .385
Talent Placement . . . . . . . . . . . . . . . . . . .385
Interviews. . . . . . . . . . . . . . . . . . . . . . .387
Dramatic Programming . . . . . . . . . . . .390
Non-Dramatic Programming. . . . . . . .390
Staff and Talent Interaction. . . . . . . . . . . .393
Managing Guest Talent . . . . . . . . . . . .393
Working with Non-Professional
Talent . . . . . . . . . . . . . . . . . . . . . . .394
Headphone Etiquette . . . . . . . . . . . . . .395
Chapter 20
Directing
The Director’s Role in Pre-Production . . . .400
Script Breakdowns . . . . . . . . . . . . . . . 400
Marking the Script . . . . . . . . . . . . . . . 404
Set Design . . . . . . . . . . . . . . . . . . . . . 406
Auditions . . . . . . . . . . . . . . . . . . . . . . .407
Pre-Production Meeting. . . . . . . . . . . 408
The Director’s Role in Production. . . . . . .409
Multiple Takes . . . . . . . . . . . . . . . . . . .410
The Director’s Role in Post-Production . . . 412
Being an Effective Director . . . . . . . . . . . . 413
Starting Something You Can
Actually Finish. . . . . . . . . . . . . . . .413
Chapter 21
Makeup
Application
and Costume
Considerations
Why is Makeup Necessary?. . . . . . . . . . . 418
Makeup Styles . . . . . . . . . . . . . . . . . . . . . 419
Applications . . . . . . . . . . . . . . . . . . . . .420
Makeup Products . . . . . . . . . . . . . . . . . . . 421
Crème Makeup . . . . . . . . . . . . . . . . . . .422
Pancake Makeup . . . . . . . . . . . . . . . . .423
Makeup Application . . . . . . . . . . . . . . . . .423
First Makeup Layer . . . . . . . . . . . . . . .423
Second Makeup Layer . . . . . . . . . . . . .423
Third Makeup Layer . . . . . . . . . . . . . .426
Fourth Makeup Layer. . . . . . . . . . . . . .427
Makeup Removal . . . . . . . . . . . . . . . . . . .428
Makeup Application Considerations . . . . .429
Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . .429
Skin Sensitivity or Allergies. . . . . . . . 430
Men and Makeup. . . . . . . . . . . . . . . . .431
Costume Selection . . . . . . . . . . . . . . . . . .431
Appropriate Clothing . . . . . . . . . . . . . .432
Planning for Productions. . . . . . . . . . . . . .432
Makeup, Clothing, and the News . . . . . . .434
Chapter 22
Video Switchers
and Special
Effects
Generators
The Video Switcher . . . . . . . . . . . . . . . . .438
Video Switcher Controls. . . . . . . . . . . .438
Video Switcher Operation . . . . . . . . . 440
Production Switcher. . . . . . . . . . . . . . 442
The Special Effects Generator (SEG) . . . .442
Components of a SEG. . . . . . . . . . . . . 444
Banks . . . . . . . . . . . . . . . . . . . . . . . . . .447
Black Video. . . . . . . . . . . . . . . . . . . . . 449