Tips and Important Concepts by Chapters

Tips on Common Film Vocabulary

The 180-degree rule is also called

• Crossing the line
• Jump the axis
• Cross the axis

Staging is also called

• Blocking

Eye line is also called

• Sight line

Camera right equals

• Frame right

Camera left equals

• Frame left

Tips On Key Concepts

• Maintaining screen direction and avoiding unintentionally crossing the line (violating the 180-degree rule) can be a challenge even for experienced directors. Storyboards, even simple ones, showing the edited sequence can help as reference material.  Keep in mind that it is the juxtaposition of the shots (putting them next to each other) in editing that causes the disorientation. Seeing how shots will look next to each other is a helpful tool.
• You will want options to “cut out the boring bits” such as someone walking across a room. Get in the habit of having your characters enter and exit the shots you film.
• A similar concept, try to incorporate action into the start and end of each shot – especially “pickups” – smaller parts of a master shot of the scene.  For example, start where the character sits or stands.  Remember, invisible editing relies on cutting on action – you need (matching) movement to do so.

Tips on Common Film Vocabulary

Spine is related to

• Premise
• Through-line

Character wants are also called

• Objectives

Acting beats are also called

• Performance beats

Tips On Key Concepts

It is important for the director to discover what the theme of the story she/he is telling. What is the underlying universal concept – or, put another way, what should the audience understand? It is not uncommon for the writer to not be aware of the theme – it can come from the unconscious. Even if you have written the script, you must discover and define what the theme is – and test your premise on others. Do they “understand” this theme at the end of your story?

Tips on Common Film Vocabulary

Staging is also called

• Blocking

Tips On Key Concepts

• On professional film sets you will probably here the term “blocking” more frequently than the term “staging”, such as when a blocking rehearsal is called for. The purpose of a blocking rehearsal is to decide and practice movements and timing of actors and camera, not to rehearse the dramatic content of the scene or the shot.
• Which comes first, visualize the shot or stage the actors? The answer is – it depends.  Knowing when to opt for which order is a matter of considering the specific situation, and practice.
• Students usually start by visualizing the shots and then staging the actors, no matter what the circumstance.  Preparing in advance of having actors by using floor plans is an excellent tool to test staging and camera placement ideas.  However, once actors are introduced into the mix, you must be alert to their contributions to bringing a scene (and staging) to life.  This is does not mean that you should never decide to stage actors to accomplish the shot you have visualized. Sometimes this may be necessary to achieve the overarching goal of shots that convey the essence of the moment and make the meaning of the inner-shot action clear.
• Developing the ability to use staging in your visual storytelling toolkit takes practice.  Be aware of not falling into a two of the more common staging habits of beginning and student directors:
• Lack of depth, flat staging - such as putting your characters against a wall and filming them side by side
• Lack of movement, especially character movement – scenes where the characters arrive at a destination or are already there (sitting, standing, etc.) become planted in one place and deliver their dialogue

Tips on Common Film Vocabulary

Tilt is vertical (up/down) movement

Pan is horizontal (side to side) movement

Extreme close-up is known as XCU

Point of view shot is called POV

Establishing shot shows us where we are (setting)

Master shot usually includes the whole scene and provides orientating for coverage

Coverage is all the shots needed for the scene

Tips On Key Concepts

• For a director, a viewfinder that allows you to see the potential shot in the correct aspect ratio and framing is an invaluable tool.  I use one of the first apps developed, Artemis Director’s Viewfinder on my iPhone – and find it an excellent tool for viewing and recording (stills or moving images) shots during scouts and rehearsals.  There is now a wide array of options available for your smart phone or notebook. Consider investing in one of these for your director’s toolkit.
• Where should I put the camera? Sometimes that best way to find out where to put the camera for the coverage you have designed will be by viewing the scene once staging that articulates the narrative beats has been worked out. In other words, you (ideally with your director’s viewfinder) along with your DP, should watch the scene once it is blocked from the positions of possible camera set ups (especially for the master).
• Multi-camera set-ups, (shooting with two or more cameras at once) can seem like a time-saving solution.  Some of the time this might be true.  But not always.  Be sure to consider the challenges involved.  Lighting is often compromised by having to light for two (often reverse) angles at once.  Likewise, camera positions are sometimes compromised (placing the “B” or 2nd camera so it is not seen by the “A” or main camera).  As a director, you may be challenged in your task to pay close attention, to see the performance moment-by-moment, for two performances (often in close-up or medium shots) at once. 

Tips on Common Film Vocabulary

Backstory is also called

• Circumstances

Tips On Key Concepts

• Character analysis is an essential part of a director’s preparation and detective work on scripts.  You can find information about the character from three sources in the script:  what the character says about themselves, what other characters say about them and what the writer (script) says about them.  You might find it helpful to go through the script and write down this information for each character. These analyses will be the basis of character descriptions when creating casting breakdowns for auditions.
• The Director’s Notebook – is not just for film students, almost every working director creates and keeps one – whether on paper (usually in a 3-ring binder) or in digital form. This will include the script and notes made by the director, shot lists, storyboards and other key elements of the director’s preparation.  In fact, searching for the director’s notebook, which the busy director has put down but now cannot find, is a remarkably common activity on many sets!
• Many directors find it helpful to collect visual and audio inspirations throughout their preparation process. For example, imagery about sets or locations, color palettes, time periods, characters’ circumstances, the story world – the list is endless – can help you refine your vision and communicate it to your creative collaborators (such as the DP, Production Designer, Costume Designer).  Music and other sound recordings can work in the same way.

Tips on Common Film Vocabulary

Sides include only the scenes needed (for auditions for the day’s filming)

Cold reading is when actors must audition without having seen the material beforehand

Tips On Key Concepts

• When casting your student films, don’t just cast your friends and classmates because it is easier.  Finding and working with experienced actors, and casting through auditions are important skills that take practice to develop.   
• Learn to create a good casting breakdown for your project. The breakdown should include:
• Project information:  who (is casting), what (title of film, type of project), where (will casting be held), and when (dates)
• Brief description of project
• Brief story line/synopsis
• Indicate if you are offering pay or no pay and include other perks (such as meals, copy of the film, etc.)
• How and what to submit (such as, “send head shot & resume to [email protected]”)
• Roles to be cast, include for each role:
• Character name, age range, gender, ethnic or racial group if essential to character. Brief character description (longer for leads) with key characteristics (psychological, social, physical).  Categories are:  LEAD, SUPPORTING, FEATURED (no or very few lines but more than an extra).
• Example:  JUANITA LEE, mid-30’s, female, any ethnicity.  College professor, originally from a small town in the West, she now teaches mathematics at a large urban university. Despite opposition from her family, she gives up her prestigious job to pursue her passion for rodeo barrel racing.  LEAD.
• OK – you say, but where do I find actors? The answer can depend on where you are.
• Theater Programs - your school or other nearby school theater programs.
• Local Acting Schools.
• Online casting services and Facebook casting groups. These exist in many areas where professional productions are being shot. One used frequently by advanced students in our program is Breakdown Express (offered through Breakdown Services, Ltd).
• Craigslist – yes I know, it’s like a crazy community bulletin board and you need to be wary but posting casting breakdowns for student films in the talent section of gigs has yielded results for our students.
• Hire a casting director.  Even student films (more commonly MFA thesis films) sometimes hire a Casting Director. Do professional casting directors exist in your area? Maybe you’ll find an ambitious casting assistant who is looking to gain experience, or an experienced pro who loves your project and will cut you a great deal.  You never know until you start looking. 
• My advice for all matters related to casting is go for the best possible options within your reach.
• Many film students seem to want to skip the first-read through rehearsal.  Here are three reasons you shouldn’t:  this will be the probably be the first time you hear the dialogue out loud and almost certainly the only time you will go through the screenplay from beginning to end (invaluable!),   this may be the only time all the cast will be together (not every character has a scene with every other character), this will be your chance to inspire the cast as a whole with your vision as a director and to share the world of the story so that you are all in the same world when shooting the movie (out of script order).
• When the activities that accompany actions are described in screenplays, it can be easy to just follow these “directions”.  Be open to alternatives provided by your cast or your own inspiration.

Tips on Common Film Vocabulary

Pre-production is also called

• Prep

Production is also called

• Shooting
• Principal Photography

Wrap is the period immediately following production and overlaps with the start of post-production

SAG/AFTRA (formerly SAG, the Screen Actors Guild) is the actors’ union

IATSE (International Alliance of Theatrical Stage Employees) is the union that represents technical crew

DGA (Directors Guild of America) represents directors and their team (unit production managers, assistant directors)

TEAMSTER is the union that represents drivers

Tips On Key Concepts

• On set, it’s a good idea to follow what the pro’s do and keep to this sequence of events when starting on a new scene:  rehearse, block, light, re-block, shoot.
• Rehearse – director and actors only on set (possibly with 1st AD and Script Supervisor and/or DP watching).  This will probably be the first time you and your actors run through the scene in the actual location or set. Your task is to find (the feeling and meaning of) the scene again (from rehearsals) and work out the blocking and any business (physical activities).
• Block – director, actors and ALL key crew on set (DP, camera operator, 1st AC, gaffer, key grip, sound mixer, boom operator, property master, etc.).  The next step is to decide on the camera set up for the first shot of the scene (usually the master), and run through the blocking so that everyone sees what they need to do and then run through it more, starting and stopping for marks (places where focus is taken).
• Light – actors are sent off set (usually to finish makeup, hair and wardrobe and to get wired for sound) and the crew “has the set”.  The director may leave the set too while lighting is set using stand-ins, dolly tracks laid or other rigging done, etc.
• Re-block – everyone back on set.  When the lighting is done, the first team (actors and director) are called back to set and the scene/shot is run through once again.  Don’t skip this step, as inevitably something will be different or changed (staging, lighting, camera moves) once the actors are back in the scene.
• Shoot – now you’re ready.  Go ahead and roll sound and camera!
• Shoot the master shot of a scene before shooting your coverage.  Work out the staging and business in the master shot to provide a guideline for spatial relationships and matching action when you break the scene into the smaller pieces for your coverage.  Of course, this does not apply absolutely to all scenes – exceptions would be oners (scenes filmed all in one shot)or montages or scenes which will be edited without using a master shot.

Tips on Common Film Vocabulary

Post-production is also called

• Post

An assembly is also called

• String-out

Score is the original music created for the film by a composer

Source is already existing music used in the film’s soundtrack - a music supervisor finds and secures source music

Tips On Key Concepts

• The impact of music on your film cannot be overstated and yet is often treated as an afterthought by beginning filmmakers.  Don’t wait until you’ve finished your film to begin the search for a composer.  Think about finding and securing this important collaborator before shooting.
• Composing original music scores for films requires specific skills and talents. Film students and beginning filmmakers should not assume they cannot afford a composer. Our students sometimes find a composer for relatively small fees or in exchange for credit.  Student composers and those just starring out need films to compose for!  Film composing is a very difficult field to break into and many aspiring and up and coming composers are looking for interesting film projects to work on for their “reels”.
• Where are the composers? You might find composers in the music department of local universities or other music schools, music workshops, through local musician organizations, by posting on film or music specific websites or on social media.  
• If you want to show your film anywhere outside of the classroom or your own living room (including in film festivals or online), you must have the legal right to use ALL the music in your film – whether original score composed for your film or source (existing) music.  This requires written (and signed) agreements and licenses.

Tips On Key Concepts

• Film directing is a craft, a profession that involves special skills and knowledge to create or make something.  And, like all crafts, there are three crucial methods for mastery:   study, apprentice and practice. 
• Study: From books, videos, teachers, etc. in school and/or on your own. 
• Apprentice: Watch and analyze films, “making-of” films, books of master filmmakers. If you can, find an opportunity to shadow an experienced director at work.
• Practice: Find and take advantage of as many opportunities to practice directing as you can.  Take film production courses in school that let you direct.  Create your own opportunities with your friends to direct short films or web episodes or music videos.  Direct a play.  Stage a reading.
• The Directors Guild of America (DGA) is the labor organization that represents the creative and economic rights of directors and members of the directorial team working in film, television, commercials, documentaries, news, sports and new media (description from the DGA website).  The DGA website (www.dga.org) resources on the craft of directing (interviews, articles, etc.) as well as information about the Guild, membership and contracts.