Recently FreshDV launched the first part in an exclusive multi-segment training series on directing. These intensive FreshDV Film School Director’s Course video tutorials delve deep into what is required of a director and assistant director, both on and off set, and what areas those on that career path can concentrate on to achieve their goals. The discussion is hosted by FreshDV’s Kendal Miller, and Chicago filmmaker Joe Martin brings his unique perspective in teaching the role of a director.

Part 1 was a 15-minute introductory video that discusses the basic qualifications, job description and overall tasks a director is responsible for in a production.

Part 2 deals with the script revision process, both in pre-production and on set. Whether a script change is sparked by a creative choice, a budgetary concern, or to fix a shooting problem, the Part 2 video segment covers the basic protocol and tangible essentials of how you can handle this in your next production.

Part 3 digs deep into the pre-production responsibilities of a Director and Assistant Director. Joe and Kendal discuss the process of breaking down a script by scenes and shots, assigning scene numbers, and building the day to day schedule. They show a sample script breakdown sheet and other necessary forms. Independent filmmakers by and large seem to have the attitude that planning doesn’t matter…but as Joe says in the video, pre-production should be 80% of a project. These tips and techniques will help you get a handle on the planning and pre-prod process, and help you come in under budget and make your shooting schedule.

Part 4 deals with daily production schedules, timesheets and the venerable callsheet…Joe’s “most beneficial information you can generate.” Joe and Kendal discuss planning, accountability, and working with the other members of a filmmaking crew to effectively reach the common goal…completing the project on time and budget.

In Part 5, the discussion transitions to the role of a Director and A/D in the casting and auditioning process. Joe talks about how he likes to run an audition and help faciliate the process, as well as what to look for in an actor’s audition. They also talk about making the offer to your actors, further table reads, and what to look for in the performances. These tips and concepts will help you better cast the roles in your next production.

In this Part 6 segment, Kendal and Joe talk about the specific roles and responsibilities of a Director and his DoP. The discussion centers around both the positive and the negative ways that a Director can interact with the camera dept, and how to avoid some of the common pitfalls on set and keep your production running smoothly and efficiently. They also talk about when to bring the DP into the pre-production process, to get the Director and DP on the same page creatively and practically. The discussion delves into using Overhead diagrams to visualize and help plan each scene, as well as the oft-overlooked yet critical location scouting process that can save time and money when it comes time to shoot. Finally, Joe and Kendal speak to the need to develop visual rules, style, and guidelines to help creatively guide a production.

Watch all six segments in the playlist below or at FreshTV, and please stay tuned for the next installment of this extensive series.

If you enjoyed this tutorial series, please tell a friend or post the link in your favorite forum. Thanks for watching.


5 Responses to “FreshDV Film School: Director’s Course Part 6”  

  1. 1 Rob

    Thanks for a great series. I’ve not found much information about directing on the Internet. I’d like to see much more of this kind of thing.

    QUESTIONS

    Joe said, “One more for camera.” I’m not sure I understand what this means and why would the camera crew appreciate this? I know it means one more “take” but is it like a safety take or something else. Can you elaborate more on the goal of this.

    Joe talked about “rough dailies” that result from shooting a rehearsal some six months before principal photography. This would likely not be in the actual location and not be “lit” completely. Did I get this right? This sounds interesting. What are the goals? What if you don’t have your cast yet? If the purpose is to give the DP and director ideas about lighting and camera placement then I’d guess performances are not paramount. Can you elaborate?

    Thanks,

    Rob:-]

  2. 2 Kendal Miller

    Rob,
    He is talking about allowing the camera operator the opportunity for another take if they want one just for common courtesy. If the op feels they could pull of another one that is better they may appreciate it, after all what goes on screen is their resume, and future work. For me its nice simply to be acknowledged from the director. Its not completely necessary nor will you always have the time budget to afford this luxury but offering thanks and general appreciation to depts makes everyone work that much better “in general” as a team. With out going back and seeing what Joe is talking about in context. From my memory he is referring to what is also known as blocking rehearsals for camera. Basically fine tuning camera positions and angles, no lighting and you are correct performance usually isn’t a big part of this process either. Actors “may” sometimes be present just to work on blocking issues with camera that may arise, all depends on how complex the camera blocking etc… Often this may be reserved for larger action sequences or complex camera sequences.

  3. 3 Geoff

    Any chance Joe would be will to make his template available. In particular, I liked his Scene Breakdown sheet. Would love to adapt it for my uses.

  4. 4 Kendal Miller

    Sure those forms should be coming soon.

  5. 5 Geoff

    Awesome and thanks for the series. It’s always nice to see someone else’s workflow. Definitely picked up a few tips. Keep it up.

Rodney's Adsense-Deluxe Add ons plugged in.