Contents xi
CHAPTER
Recording Audio
About Recording Audio . . . . . . .366
Problem: Audio Records
Everything. . . . . . . . . . . . . .
366
Problem: Audio Distorts Sounds . .
366
Overcoming Audio Problems . . . .
367
Types of Audio Recording . . . . . .367
Production Sound . . . . . . . . . .
367
Background Sounds . . . . . . . . .
368
Sound Effects . . . . . . . . . . . . .
369
Voice Recording. . . . . . . . . . . .
369
Music. . . . . . . . . . . . . . . . . .
370
Microphones. . . . . . . . . . . . . .370
Physical Form . . . . . . . . . . . . .
370
Transmission Method . . . . . . . .
372
Pickup Pattern . . . . . . . . . . . .
372
Other Recording Equipment. . . . .375
Microphone Supports . . . . . . . .
375
Cables . . . . . . . . . . . . . . . . .
376
Receivers. . . . . . . . . . . . . . . .
377
Mixers and Equalizers . . . . . . . .
377
Recorders . . . . . . . . . . . . . . .
378
Accessories . . . . . . . . . . . . . .
379
Audio Recording Techniques . . . .380
Production Tracks. . . . . . . . . . .
380
Background Tracks . . . . . . . . . .
383
Sound Effects . . . . . . . . . . . . .
384
Foley Effects . . . . . . . . . . . . . .
384
Voice Recording. . . . . . . . . . . .
384
Dialogue Replacement . . . . . . . .
386
Music Recording . . . . . . . . . . .
386
CHAPTER
Directing for Content
About Directing for Content. . . . .392
Approaching the Script. . . . . . . .393
Getting to Know the Script . . . . .
393
Understanding the Nature
of the Project . . . . . . . . . . . .
393
Evaluating the Script . . . . . . . . .
393
Choosing a Directorial Approach . .
394
Directing for Communication . . . .394
Information . . . . . . . . . . . . . .
395
Emphasis . . . . . . . . . . . . . . .
396
Feeling . . . . . . . . . . . . . . . . .
398
The Other Half of Content . . . . . .
401
Directing for Performance . . . . . .401
Actors and Performance . . . . . . .
403
Actors and Insecurity . . . . . . . .
403
Helping Actors Overcome
Self-Consciousness . . . . . . . . .
404
Helping Actors Deliver Lines . . . .
404
Helping Actors Master
Production Techniques. . . . . . .
405
Helping Actors Express Emotions . .
407
Helping Actors Project Authority . .
407
Directing Assignments . . . . . . . .409
Directing Interviews . . . . . . . . .
409
Directing Documentaries . . . . . .
411
Directing “Wallpaper” . . . . . . . .
413
CHAPTER
Directing for Form
About Directing for Form . . . . . .418
Covering the Action . . . . . . . . .418
Coverage. . . . . . . . . . . . . . . .
418
Maintaining Continuity . . . . . . .420
Continuity of Information . . . . . .
421
Continuity of Action . . . . . . . . .
421
Continuity of Direction . . . . . . .
424
Managing Screen Direction . . . . .425
The Importance of
Consistent Direction . . . . . . . .
425
The Power of the Frame . . . . . . .
426
Screen Direction: Look . . . . . . . .
426
Screen Direction: Movement . . . .
429
Screen Direction: Convention . . . .
430
Controlling Screen Direction . . . .
430
Changing Screen Direction . . . . .
431
Staging for the Screen . . . . . . . .433
Creating a Screen Geography . . . .
434
Working within the Frame. . . . . .
434
Managing Depth . . . . . . . . . . .
435
Scaling for Video Displays. . . . . .
437
Moving the Camera. . . . . . . . . .437
Types of Camera Movement. . . . .
438
Reasons for Moving the Camera . .
441
Techniques for Moving the Camera .
444