scroll down or click for:
Teleprompter downloads
Media Kit
Supplement
Chapter by chapter orientation

Edition 3
* Edition 3 is came out in January 2002. The new edition is greatly improved. Same basic structure as previous editions. This one has a coil binding for ease in laying flat for script marking, directing, or Xeroxing the scripts.     feedback

* We keep current on President and White House Advisor graphics for the Media Kit. If you need an update, let us know. Please request one.

*We are no longer shrink-wrapping script Supplements with the books. We found that too much paper is wasted on classes that only use a  few exercises per semester. So we offer the Supplement for sale to any student for $9.00. More importantly, we offer the professor who has ordered the book a master Supplement from which to make unlimited script copies for classroom use. Supplements really aren't as necessary now with the new edition.

ABOUT THE BOOK
The Multi-Camera Director is both textbook and practical workbook for the student learning to direct live TV. Using any or all of the thirteen script exercises in the book along with a department purchase of our Media Kit, you have a turn-key operation to teach live or live-to-tape studio exercises.

The book has a lot of guidance for the instructor woven into the very text itself. You'll notice many procedural suggestions along the way. Any instructors less familiar with studio directing will find that the book subtly guides them along.

Part One
The first half of the book covers skills, training and general knowledge that can be covered rather quickly in the first couple of weeks of class in preparation for in-studio exercises. Three main areas to prep are:
1) Crew positions
2) Script marking shorthand and protocol
3) Segment timing

Part Two
The second half of the book is composed of  13 script exercises and lessons. Instruction and orientation precedes each new exercise.  When used with the Media Kit, these thirteen exercises provide a ready-to-go curriculum. Most classes will not have the time to rotate through all 13 scripts in the course of one or even two semesters. However, the professor can use any of the scripts as in- class script-marking practice. "How would you handle this script?" Each script presents new challenges.

Assumptions
The 13 script exercises assume the following:
1) That you will rotate the class so that each person gets to direct while all the other students rotate through the crew positions.

2) That you have a studio with two cameras. You may have more than two, but we suggest that new directors learn how to make the most efficient use of two cameras.

3) That you have 
- VTR playback (we provide playback tapes in any format)
- music playback (cassette or CD)
- live announcer capability (studio mic or annc booth), and 
- character generator. 

VTR playback can be provided to you on any tape format you need. Music currently comes on cassette, though we will be offering CDs very soon. Announcers can use a separate announce booth, or simply stand at a mic in the studio.

Basic Procedure
For each exercise that you plan to produce in studio, every member of the class will have the chance to direct that exercise. The crew rotation allows you to get through each member of the class in one or two class sessions, giving each student about 10-20 minutes to rehearse and execute the show. 

Each student has an assigned air time. If  Sue's air time is 3pm, then her rehearsal time begins as soon as the last student's show fades to black and the whole class rotates one position. The previous person's airtime might have been 2:45 with a 3 minute show. That means Sue's rehearsal starts at 2:48 giving her about 12 minutes to get set and do at least one full rehearsal before the clock strikes 3pm. Sue's show should fade up at 3 and fade to black at 3:03. Now Bob takes over and the rest of the class rotates to the next crew position. 

These specific airtimes are the crux of good discipline for the world of  broadcasting. There should be no exceptions to punctual air times.

Flexibility
We give you a curriculum, but you may vary it.
Some ways to be flexible with the thirteen exercises:

1) Choose to produce some scripts in studio and save others for in class discussion.

2) Vary the rehearsal time per rotation. The less rehearsal time, the bigger the challenge for the director. You want to find a good balance between allowing the students enough rehearsal time to achieve success but not so much that they have time to waste. It's demoralizing if a student never has enough time and their productions always crash and burn. On the other hand, they should experience the pressure of the clock ticking toward their air time.

3) Add or delete elements. You can make a given script easier or harder by adding or deleting an element. For example, throw out a commercial break to make a show easier.

4) Change or update wording. If you want to rewrite script copy, go right ahead. An easy way to edit talent copy is via the teleprompter download files available below.

Cue cards?
You may have a prompter, or use cue cards, or neither.
If you have neither, the talent may simply read his or her script. See prompter download files below for teleprompter or for cue card reference. One set of cue cards should last a long time if the same exercises are used each semester.

In-studio or in-classroom
We highly recommend using some in-class time to cover scripts that are not produced in studio. You can still discuss the considerations for directing any given script and even practice script marking. Try making overhead transparencies from the Supplement to use in class for script marking practice. Work through the scriptmarking considerations together as a class for any given script. 

Return to top

MEDIA KIT
The Media Kit is a one-time purchase by the department, giving you a VTR playback tape and easel cards whose contents correspond exactly with cards and VTR segments called for in the thirteen exercises. If you have not ordered a Media Kit, please consider acquiring one for your studio. We will supply the VTR playback tape in any format you require.   Cost: $195.00

Media Kit Easel Graphics
We provide easel cards in the Media Kit. Some professors have mentioned that they have frame store capability and could use digitized versions of the easel cards. In response, we suggest that the usefulness of physical easel cards is in the need for students to break for new shots and focus them. Also, the floor assistant has the job of keeping cards in order. 

Media Kit Videotape Roll-ins
The videotape roll-ins in the media kit are specific to the segments called for in the scripts. Some playbacks use countdowns to black for fade-down/fade-ups. Other segments use "pad" video for wipes and dissolves. Students  learn why each is useful.

Return to top

Teleprompter downloads
Scripts may be downloaded for teleprompter use or as copy to use for making cue cards. 
 

Word .doc	.txt
Script 01 Script 02 Script 03*  Script 04 Script 05 Script 06 Script 07 Script 08* Script 09 Script 10 Script 11*  Script 12 Script 13	Script 01 Script 02 Script 03*  Script 04 Script 05 Script 06 Script 07 Script 08* Script 09 Script 10 Script 11*  Script 12 Script 13
* These scripts do not require talent prompter.
Return to top

 

Chapter-by-chapter orientation for 
The Multi-Camera Director

Part I - Background and Skills

Chapter 1    - Introduction 
A short introduction to the concepts behind multi-camera directing and a comparison to single-camera field directing.

Chapter 6    - Segment Timing 
Another meaty chapter. this one covers backtiming and segment timing. This area requires some math skill and some people do not catch on easily. The good news is that the first set of script exercises do not call for segment timing. That would be too much to throw at a new director.

The thirteen exercises are either news, interview, variety, demonstration, or a combination.

We highly recommend studying the lesson in the book that precedes each script exercise. Often, these lessons are only a page or two long, but cover essential new concepts and instructions.

We recommend that this first assignment be for practice and not for grade. Also, it can work very well if the professor or an advanced student direct the first exercise several times in a row as students rotate through the crew positions. This gives students a chance to experience good clear directing before they experience each others' first attempts.

With this and any script exercise, see lesson in book immediately prior to script - consider making overhead transparencies of script to go through script marking and planning in class.

Note: Although all exercises beginning with Exercise #5 should be backtimed, we do not specify program lengths. We purposely leave that to you. We want you to be free to determine the pace at which each exercise will flow. Further, we realize that you may modify any part of an exercise which may influence the total running time. 

We suggest that you come up with reasonable running times for each exercise. Of course, it's easiest for your students to fill out the segment timing sheet if the times are in round numbers such as 2:30 rather than 2:37. But, you certainly could challenge the class with odd times. 

You may point out that news shows typically use both scripts and rundowns. The scripts allow the director to follow the spoken words. The director will mark the script for commands. In addition, the director will pass out a rundown to the crew listing all the segments. The rundown helps the crew anticipate VTR roll-ins, special effects, CGs, etc. 

In some cases, there is no time for a script or no need because most of the show is impromptu. So it's good for the director to be able to work off a rundown only when necessary. This exercise forces the director to know his or her commands well enough to call the shots in a "heads-up" mode. The director may mark the rundown enough to get through opens, closes, and transitions, but the rest will be on the fly.

This ends the discussion of the Multi-Camera Director textbook. Below is information on our other books and videos.

Return to top
 

(Video) Directing Major Market TV News

Now available as a video CD-ROM (MPEG-1) or VHS.

This is a stand-alone video for purchase. Although it does not directly tie in to the exercises in the Multi-Camera Director textbook, it makes a fabulous orientation for students to see how the crew works together in a live studio situation.

The video is 47  minutes long. The first 15 minutes covers director's preparation of scripts and rundowns.  Then, we meet some of the key crew members and hear them describe their jobs.

The main show covers a half-hour newscast in which the director can be seen and heard giving commands while we also see the air signal and the TD and floor manager at work.

This is also stand-alone video for purchase. Whereas the previous video shows the professional world at work, this video breaks it down for the student and teaches scriptmarking form the very ground up, featuring a student production in the making.

A complete introduction to the artistic and technical elements of electronic field production (EFP) spanning the pre-production, production, and post-production phases and emphasizing the role of the director. 

This book, though covering a great deal of technical information, does not try to be an overly detailed technical manual. We believe that students need concept and theory more than they need to memorize a lot of technical information that is likely to become obsolete soon enough. Instead, the book  covers the decision making and protocol of single-camera television. Students are often flooded with technical details that really don't make sense to them right away. Therefore, I have tried to be strategic and selective, choosing the amount of technical detail that will be helpful for a new director to understand. For example, it is essential to understand color temperature and the difference between reflected light, diffuse light, and direct light. But it is not essential to cover all the different kinds of lighting instruments available. Nor does this book try to explain the difference between different kinds of cable connectors. These are things that the student will learn in a workshop setting. 

The value of this book is making concepts come alive for the student. In this book, they get a roadmap, a guide on how to think, plan, and execute a production. At the beginning of their journey into television, this book helps fundamental concepts gel in students' minds. 

Two colleagues in the TV production business, having read the book, said to me recently, "I wish I had read this book when I was in school. It would not have taken me so long to understand some of the things I do today in the field of television."

News Update: Edition 2 of The Single-Camera Director has been out since April of 2000.  Edition 2 has the same content and chapter structure. However, we have cleaned up the book in many ways. A lot of copy editing, fixing of little typographical errors, better photos, and a lot of content updates. We're very excited about Edition 2. It's current! It deals with today's issues including non-linear editing, DVD output, etc.

Chapter by chapter orientation

SECTION I - BACKGROUND

Chapter 1 - Introduction 
The first chapter explains the difference between single camera and multi-camera production. The chapter also introduces a construct that is seen throughout the rest of the book called "A Real World Application," the making of a corporate video. This ongoing story, featured as a brief postlude to each chapter, shows the application of concepts in each chapter to the making of a corporate video. The gray shaded boxes at the end of each chapter are where you will find the installments of this ongoing story. The purpose is to help make all the concepts gel in the students mind, to see how it all plays out.

Chapter 2 - What is a Director? 
Many students don't know the difference between producer and director. This chapter details the mindset and responsibility of the director.

Chapter 3 - TV Technology Overview 
A brief history of television and videotape formats. A detailed explanation of "digital" versus "analog." The word "digital" is thrown around constantly these days and most people have no idea what it really means. 

SECTION II - AESTHETICS OF THE TV MEDIUM

Section II is unique. You won't find a concentration of important background info like this in most books. But if the student digests these four chapters at the beginning of the semester, it serves as a great foundation for the rest of the semester. 

Chapter 4 -The Frame 
The frame is the building block of video and film. Students should understand its role and significance. This chapter also introduces time code as a means to measure and identify frames. 

Chapter 5 - Resolution 
Most students have no idea why one camera is better than another. If it costs more, it must be better! In fact, resolution is the factor by which we evaluate equipment performance and picture quality--essential for the director to evaluate his or her production. This chapter explains resolution in a crisp and clear manner, offering several key principles and factors that affect resolution. 

Chapter 6 - The 3-D Challenge 
The director's job is to create the illusion of a 3-dimensional world using a 2-dimensional medium. This chapter emphasizes this simple but crucial principle. If the student director learns no other concept about picture composition, hopefully they will retain this one. 

Chapter 7 - Composition 
This chapter continues where Chapter 6 leaves off to explain more details about picture composition. Please note, many of the concepts in Chapter 6 and 7 pertain to use of the video camera. There is some overlap  between these chapters and Chapter 11 "Using the Video Camera." So, we recommend reviewing these chapters together with Chapter 11. 

The rest of the book is structured around the normal TV process which starts with preproduction planning and writing, then moves to production shooting, and post production editing and distribution. 

SECTION III - PRE-PRODUCTION

Chapter 8 - Concept and Script 
This chapter addresses many of the director's questions about the content of the show and who is responsible for developing it. The chapter discusses various TV content formats, the role of the writer, and the role of the client. Then, the chapter covers script formats.

Note: In this chapter, we assert that a good way to distinguish dialogue from script directions is by putting all dialogue in caps and all descriptions in upper and lower case. In fact, we should have mentioned that in some cases, this works well, and in other cases, just the reverse--put all dialogue in upper and lower and directions in caps. It depends on whether the script is heavy in dialogue or not.  Use your discretion. Go either way.

Chapter 9 - Site Survey 
The site survey is so important, but it is almost never discussed in the classroom. This chapter details the reasons for a site survey and the checklist of things to look for both inside and outside.

Chapter 10 -Equipment, Crew, and Talent
This chapter covers everything and everyone that the director may need to rent, buy, or hire for the productions. The chapter starts with an equipment summary. This summary should be reviewed in connection with Chapter 11, 12, and 13, as these three chapters elaborate on the items listed in Chapter 10. 

After the equipment list, the chapter explains the various crew positions. And finally, the chapter explains the options for performing talent, how to find them, and the important facts about use of union performers.

SECTION IV - PRODUCTION

Chapter 11 - Using the Video Camera 
This is both a technical and an aesthetic orientation to use of the video camera. The first half of the chapter describes the camera function. the second half describes shot moves and framings. Pans, tilts, arcs, dollies. Framings for the single human body and framings for two people in conversation. Please note that both chapter 6 and 7 on composition should be reviewed in conjunction with the second half of this chapter.

Chapter 12 - Lighting 
Again, this chapter gives first a technical orientation followed by an aesthetic orientation to lighting. We give several scenarios of indoor and outdoor lighting for the student to consider.

Chapter 13 - Audio
Again, this chapter gives first a technical orientation followed by an aesthetic orientation to audio.  This is a good example of teaching the student that there is no one right scenario, but based on the pros and cons of the various mic styles and types, to choose the best tool for the job. We stress the importance of good mic presence, no matter the type of mic selected.

Chapter 14 - The Jump Cut 
Most students leave school without a good understanding of the jump cut. This chapter gets inside every aspect of the jump cut and teaches the student director how to assess the jump cut in his or her own production. This chapter would make the basis of a good in class editing exercise.

Chapter 15 - Moving through Time and Space 
Any director needs to know the aesthetic principles of moving people through time and space. This chapter explains why it is important and practical guidelines in making it work. The "chase" exercise, found in the exercises at the end, corresponds to this chapter. We think a "chase" is a great exercise to include in the semester's assignments, teaching the student how to move people through time and space. We like to show clips form famous chase scenes in moves such as the French Connection to show these concepts.

Chapter 16 - Directing Talent and Crew
The director has to communicate effectively with two sets of personnel: the crew and the performing talent. This chapter gives orientation to both.

Chapter 17 - Sample Production Formats
Putting it all together, this chapter takes four typical production formats--an interview, a documentary, a demonstration, and a dramatic masterscene--and walks the director through considerations and suggestions for approaching each format. 

SECTION V - POST-PRODUCTION

Chapter 18 - Preparing for Editing 
There's a lot to do before editing. This chapter covers logging tapes, a paper edit, and rounding up everything you need for the edit session.

Chapter 19 -Editing Mechanics: Linear and Non-Linear 
This chapter begins with an explanation of linear editing and then covers non-linear.

Chapter 20 - Editing Aesthetics 
This chapter reviews the jump cut and gives a number of other considerations for making the edits work aesthetically.

Chapter 21 -Graphics and Animation
This chapter explains the various graphics options available to the director and why each is important. The chapter also explains aliasing and anti-aliasing and the role of the computer animator. 

Chapter 22 - Post Production Audio 
This chapter explains the director's options for post production sound including narration, music sources, audio sweetening, and equalization.

Chapter 23 - Distribution
Where does the show go when it's finished? This chapter explains the options for how a show gets distributed.

SECTION VI - EXERCISES
These exercises are designed to help the instructor with ideas to further emphasize points in the book. The are completely optional. But they are worth discussing, even if they are not assigned as exercises.

Exercise 1 - Budgeting an EFP Shoot 
Exercise 2 - Site Survey 
Exercise 3 - Camera Moves and Composition 
Exercise 4 - Audio: Mic Presence 
Exercise 5 - Three-point lighting 
Exercise 6 - Editing: The Basic Edit 
Exercise 7 - Editing: The Academy Leader 
Exercise 8 - The Chase 
Exercise 9 - The Interview 
Exercise 10 - The Masterscene

---

This program offers a basic theoretical and practical explanation of non-linear editing. three non-linear editing stations are featured: the FAST Video Machine Studio Plus PC-based system, the AVID Xpress Mac-based system, and Final Cut Pro. In this program, the TV student with little or no experience will be exposed to the basic concepts that are common to all non-linear editings systems. This is not meant to be a tutorial. The value is to show three systems and let the student see the similarities and the fundamentals. It's a nice introduction to the concepts.