Subscribe Online  
 

September 2018
£15.00


In the magazine
Only available in print
  • The Production 100
    Tim Dams introduces Televisual’s exclusive Production 100 survey of the indie television sector, now in its 26th year, and finds the rise of the streamers is creating opportunity –but also plenty of anxiety. The report includes the top 100 indies, the
  • The Genre report: Factual TV
    Demand for factual is growing as channels fight ever harder for audiences. Televisual Factual Festival producer Pippa Considine reports
  • All the Fun of the Fair
    ITV and Amazon’s new Vanity Fair adaptation demanded a period drama with a modern sensibility. But how was that balancing act achieved? Jon Creamer reports
  • The Art of the Vfx Super
    Creativity, tech know-how and a cool head are essential attributes for a vfx supervisor. Three top supers tell Jon Creamer how they help create screen magic
  • Channel 4's big move
    Three cities are still in the running for the new out-of-London Channel 4 HQ and three for the two creative hubs. The indies in those cities say the potential prize is immense. Jon Creamer reports
  • IBC preview
    IBC is a great place to check out both new launches and to get your hands on something already announced at NAB. Here’s a small taste of what’s likely to be on offer
From the magazine
Available to read online
Read >>

Reports&
surveys

The Art Of Studio Direction Back to Reports & survey Listing




Early stages


My first involvement with a project usually comes in the early planning stages, at a meeting with the executive and series producers of the show. This gives them a chance to outline their creative brief for the show and for me to ask questions about the project. It’s important in these early stages to establish the style and tone the editorial team are looking for, as this will likely affect the choices you have to make technically further down the line.

 Sometimes you come to a project before any design briefs have been sent out, so you can be involved with developing the overall look. But more frequently these days, the set and lighting designs may already be in place and it becomes more about working with key departments to bring the show to life. Develop a good relationship with your line manager in the early days, because invariably all ideas come down to money.   
 
Work with the best
I adore my crew and I’m lucky enough to work with the best in the business. It’s so important to build close working relationships with your team because they get to know your style and preferences and can preempt some key decisions. You spend long hours together, working in high pressure environments, sometimes far from home, so it’s really important to get along.

That’s why I’m always really keen to choose my key crew members; camera supervisor, vision mixer, script supervisor, lighting designer and floor manager in particular. I would say that while they’re all critical roles, the first call I usually make on a job is to my camera supervisor. I’m fortunate enough to work with some incredibly creative supervisors but special mention should go to the talented Nat Hill. We’ve worked together since T4 was hosted by Dermot and Margherita, live from C4 HQ at Horseferry Road and we’re still at it on series four of The Voice at Dock10, MediaCity.  

An eye for detail, a sense of humour and good communication are essential skills for a studio director. Your voice can be heard by everyone via production talkback, so it’s important to be clear who you’re communicating with and what the message is. The tone of your voice will set the mood of the crew, so it’s important to remain calm but enthusiastic, to keep energy levels up. I always have a team meeting with the crew on the morning of the show, to give everyone an overall sense of what the producers want editorially.
 
Coping with stress
Rescue Remedy (thank you Nikki Parsons) is one little tip I can pass on, but in all honesty, if you’ve been thorough in your planning and you’re well rehearsed, then it’s not stress that you feel, it’s just pure adrenaline. And I’m sure, secretly, that’s the reason we all do it.

More Chapters

 



Televisual Media UK Ltd 23 Golden Square, London, W1F 9JP
©2009 - 2017 Televisual. All rights reserved
Use of this website signifies your agreement to the Terms of Use | Disclaimer