Director - TV
In television Directors work across all genres, including news, sport, documentaries, current affairs, light entertainment, children's programmes, situation comedies, soaps or serial dramas, or one-off dramas. These programmes may be either transmitted live, recorded as live, or pre-recorded in any multi camera environment in studios or during Outside Broadcasts (OBs), or shot on single or multi camera film or tape shoots and edited in post production.
Directors are responsible for the look and sound of a production and its technical standards; they interpret the Producer's and/or Writer's vision. Every production has its unique internal dynamic, and Directors are responsible for ensuring that the final programme is faithful to the original concept. They are the guardians of the genre, and need to be able to push boundaries while remaining in total control of their material. They collaborate closely with all Heads of Department, including Designers, Camera, Sound, Lighting and Choreographers. Directors may be employed by broadcasters, or work on a freelance basis.
What is the job?
Directors work closely with Producers and/or Writers, embellishing, refining and ultimately realising original ideas into finished programmes. They make careful preparations in order to ensure the success of each shoot. Directors must have a clear creative vision of the project, and what materials are required to achieve it. They should not shoot endless footage which may be useful, but prepare a carefully calculated shooting schedule which provides the required footage within budget and to deadlines. Within those parameters they should also be able to contribute creatively to projects. So that they can construct productions with logic and integrity, particularly in drama, Directors should understand the significance of scenes and how they fit into the overall programme structure, as well as knowing what is happening within each scene as it is shot.
Studio multi-camera shoots are essential elements in the production process of high volume drama series and soaps. Detailed preparation is required in order to provide crew members with accurate instructions and directions. Directors carefully read through scripts before their first meeting with Producers, Script Editors, Story Editors, Series Editors, Script Supervisors, and/or 1st Assistant Directors. At these meetings Directors may suggest changes to the structure or order of scenes in order to create greater dramatic tension.
The other Heads of Department may draw attention to potential technical, logistical or creative problems with scripted scenes, and suggest solutions or alternative arrangements. Once all these factors have been taken into account, and changes approved, scripts are returned to Writers, and changes negotiated. Final amended scripts are delivered to the Director so that marked-up camera scripts and/or running orders can be prepared for cast and crew members.
The Director's marked studio script is the blueprint from which all crew members draw their requirements. It is used by the Script Supervisor to prepare a script breakdown or story order listing additional requirements. Departments as diverse as sound and costume select and use the information that is relevant to them. Once all changes have been approved and implemented, Directors are responsible for the creative and technical aspects of producing finished programmes, working to the Producer's budget.
Directors block all aspects of the script (plot the required camera movements, backgrounds and locations, in relation to the actors' actions) in order to keep the production under control, and to create a safe environment for actors to work creatively without wasting production time. Directors and actors attend script read throughs in order to explain and discuss all aspects of the script, such as the relevance of particular scenes, including whether they should be performed particularly dramatically, amusingly, tragically, etc. They also discuss whether scenes are significant to the storyline, or if they are there as reminders to the audience of earlier developments.
Directors liaise with crew members about all technical requirements, e.g. lighting and camera movements, sound recording requirements (such as what type of microphones should be used), set dressing, vision effects, graphics and transitions. While the crew prepare the sets and set up the equipment, Directors may work with individual actors on specific scenes which require particularly sensitive, dramatic or comedy performances.
On single camera shoots, e.g. for scenes shot on location or documentary shoots, preparation is equally important. Directors must work closely with the Production Manager, Designers, Lighting Directors, 1st Assistant Director and others, to choose suitable locations, and plan the shots required. They must ensure that there is sufficient coverage, including appropriate wide shots, mid shots and close-ups, so that the correct emphasis and dramatic atmosphere can be created in the editing process. Edited sections are subsequently incorporated into scenes shot in studio or on OB during recording, or in post production. Drama productions may also be shot completely on single or multi-camera film or tape shoots, and edited in post production. On documentaries and factual programming some Directors shoot their own material, interview contributors and edit these materials as well.
Directors must be able to carry out detailed preparations to ensure that sufficient material is shot or made available from other sources (e.g. archives, stock shots, stills, etc.) for editing and post production. Producers also have input into these processes, enabling them to affect the production's tone and feel.
Light Entertainment programming is usually produced in multi-camera studios or on OBs. Documentaries are usually shot on single camera and edited in post production under the supervision of Directors. On some low budget documentary productions, Directors may work with the support of only a Researcher/Associate Producer and an Executive Producer, and with very small technical crews (Camera, Sound and Editing only). In these cases, Directors must be more self-sufficient, often taking on the dual role of Producer/Director.
News or current affairs Directors may not be responsible for individual shot items, and may only direct multi camera programmes from the Gallery, under considerable time pressures to produce smooth running, quick turnaround programmes. They may need to change the running order at the last minute in order to accommodate emerging items, and must be able to react quickly and effectively in extremely stressful circumstances.
During multi camera studio recordings, or live transmissions, Directors work closely with Vision Mixers and Production Assistants (PAs) in the Gallery (control room) to visually create the programme. The Gallery is located away from the studio floor, and Directors communicate via talkback equipment to technical personnel including Floor Managers, Camera Operators, Sound Supervisors, Boom Operators, Lighting Gaffers and other personnel. Directors cue all movements, PAs provide countdowns and shot calling, Vision Mixers effect all transitions and, in some circumstances, Producers may offer last minute suggestions/amendments. Crew members may also provide feedback from the studio floor. Directors must be able to absorb all this information while following agreed camera scripts and simultaneously monitoring programme content, performances, and technical quality.
Typical career routes
Directors are usually experienced production or post production personnel, and may have started their careers as Researchers, becoming Script Editors, Story Editors and ultimately Directors and/or Producers. Alternatively, they may have worked as Runners, 2nd Assistants, 1st Assistants or Production Managers before becoming Directors. They may also start their careers in technical roles, e.g. Camera or Editing. Some Directors work as Theatre Directors, acquiring valuable experience of working with actors, before moving into television after undertaking specialist technical training, for example on single and multi-camera directing techniques. Acquiring the technical skills of direction does not however guarantee the transition to becoming recognised Directors.
Essential knowledge and skills
Directors must be able to creatively translate Writers', Producers' and other originators' vision into a visually and aurally coherent, marketable, entertaining or informative programme. They must understand all aspects of television production and post production processes, and be aware of and value the contribution of all crew members to the creation of the final programme. They should know when it is appropriate to use visual and sound effects, and how to use them effectively. They should be able to work effectively with all members of the production team, and with actors, presenters, other contributors, and members of the public. They should understand the difference between multi- and single camera shooting, and know when to use different technical and creative techniques. Effective communication is the key to this role, combined with the creative alchemy that a good director can deliver to each production.
Key Skills include:
- ability to conceptualise ideas and to think visually;
- ability to decide about the appropriate graphic style and the music for the production;
- precise attention to detail;
- methodical approach to work with high stress tolerance and stamina;
- knowledge of the entire production process;
- excellent verbal and written communication skills;
- ability to lead a team and to motivate actors and crew members;
- initiative and problem solving skills;
- ability to see the broader picture and to co-ordinate effectively;
- budgeting and financial skills;
- diplomacy and sensitivity when working with Writers, Producers, Actors, and Crew members;
- knowledge of the requirements of the relevant Health and Safety legislation and procedures.
Training and qualifications
Although no specific educational or training qualifications are required for the role of Director, a degree in a media related, drama or specialist subject may provide some useful background information. Wide experience in and knowledge of the production process is essential. Successful completion of specialist training or courses in single and multi-camera directing is required.
Where to go for more information
Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. Browse Skillset's website for links to our network of training partners, information about training and access to the comprehensive Skillset/BFI course database. Finally, Skillset Careers is UK's only specialist media careers advice service; for detailed media careers information and advice, visit www.skillset.org/careers.
Websites
- - Directors Guild of Great Britain; http://www.dggb.co.uk/
- - BECTU, the trade union represents production personnel; http://www.bectu.org.uk/
- - BBC Training; http://www.bbctraining.com/
- - National Film and Television School; http://www.nfts-tv.ac.uk/
Publications
- - Basic Studio Directing - R. Fairweather - ISBN 0-240-51525-0
- - Directing Actors - J. Weston ISBN - 0-941188-24-8
- - Directing and Producing for Television - I. Cury - ISBN 0-240-80827-4
- - Directing Single Camera Drama - M. Crisp - ISBN 0-240-51478-5
- - Directing the Documentary - M. Rabiger - ISBN 0-240-80608-5
- - Broadcast, the weekly newspaper for the UK TV and Radio industry; http://www.broadcastnow.co.uk/
- - Televisual, the business magazine for the broadcast and production industry; http://www.televisual.com/
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Director - TV
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