How well do you communicate what you want to see? Accurate communication is the job of a director at any level. It doesn't matter if you are on the headsets directing the IMAG in church or if you are on a field shoot. Properly articulating what you want before you start any production is the key to better shots and less stress.
If you go through some basics, the ABCs, you will ensure that every camera operator knows what to expect and what you mean when you are directing. I like to have a face-to-face discussion and be able to answer any questions before we start. Even if everyone comes from a production background, directors can have different meanings between shots. Here's a quick rundown of what you need to clarify and how you are going to communicate:
A - Actions
I realize that some churches and even some professional camera crews develop their own language, and that's fine as long as everyone knows what you mean before you say it. Here are some standard actions that everyone should be clear on:
Pan (Left or Right) – This is the camera operator moving the lens of the camera horizontally in the direction indicated. It's important to make this clear up front and for the director to know this will move the subject in the opposite direction of the call. In other words, you say “pan left” and the camera lens goes to the left and subject slides to the right of the frame. It's much clearer to the operator than saying, “move him to the right.”
Tilt (Up or Down) - This is the same movement on the vertical plane. The lens of the camera will be moved in the direction indicated. Again, the director needs to know that the subject in frame will go the opposite direction. So you will say “tilt up” and the subject will slide down in the frame.
Zoom (In or Out) – This is to actually press the zoom button or turn the zoom crank in the direction indicated. To zoom in means to make the subject bigger in frame and to zoom out makes the subject smaller.
Check (or Roll) Focus – This is normally not done when the camera is live, unless you're going for a certain effect. To check focus, the operator should zoom all the way in on a subject and make sure that the person's eyes are as sharp as possible. To roll the focus is to turn the focus ring or handle but not zoom in.
Truck (In, Out, Left or Right) – This is to physically move the camera in the direction indicated. This is normally only done when you are setting up or if you are trying to get the right framing. The director should know that trucking is going to change the background and will change the camera's focus.
B - Basic Shots
It is critical that everyone is clear on what you mean with your basic shots. You may ask for a medium shot, but that may look different to the operator. I find that it's best to actually frame a camera for the operator in order to help them see what you want.
Wide Shot – In classic cinematography, you always start with the establishing wide shot. But how wide is wide --- especially in a church environment? Explain in clear terms how far a wide shot should be for each camera. Explain what you don't want to include. For example , “Zoom out until you can see the edges of the stage but I don't want to see the screens.”
Medium Shot – The same rules apply, how wide is medium? Do you want to see the person's shoes? I would go from a person belt buckle to a bit of space about their head. Always be clear of what you mean by a medium because there are lots of opinions about what this means. Some people never use a medium.
Medium Close Up or MCU – This is between the medium and the close up. (Sort of like medium well with a steak.) For me, an MCU is about to the pockets on a man's shirt and leaving a bit of space above the person's head. This is your classic anchorman shot.
Close Up – As with all of these, explain what you mean by a close up before you start. If you say, “give me a close up”, you might end up with eyelashes and nose hairs. I usually like a close up to have the face fill about 2/3rds of the screen. Again leaving a little room above the head and blow the chin. Some directors would call a shot a “close up” that only shows the face.
Extreme Close Up or ECU – This is where you need to be very specific, if you ever use this shot. Normally you'll say something like, “I want an ECU on the eyes” or “Give me an Extreme Close Up on the guitarist's fingers on the fret.” Be very specific.
C - Camera Responsibilities
Finally, the biggest way to avoid the headaches is to specify about each camera operator's responsibilities. For example, in a three-camera shoot, explain to the center camera operator, “You are camera one and I expect you to stay on the pastor the whole time. I will ask you for a wide shot off the top and then zoom in to an MCU when I cut away from you.”
It is also critical for each camera operator to know when they are live. This is especially true when you don't have tally lights. Be in a constant state of telling your camera operators who is “hot” or live. You I say, “Camera 1 is hot. Camera 2 zoom in to a medium shot and I will go to you.” After you have dissolved over, you would say, “Camera 2 is hot.” You cannot over communicate this.
With the ABC's of communication, you can make sure that everyone understands what you expect and what you will say. This will ensure the best video.
