These guidelines are intended to make your job (and the jobs of others) easier. They are (for now) informal and may be bypassed on an individual project basis. However, we don't recommend bypassing the guidelines -- as I mentioned, they're intended to simplify things. You've heard it a hundred times before, “Please read through all the instructions before beginning your project.” The WaZoo! Show charter does state that we are here as a learning experience. There are many good books on writing, directing, camera operation, sound recording, etc. We at the WaZoo! Show are by no means experts. We're learning too. However, we are trying to produce the best show that we can. If you're serious about learning the art of visual story telling (film, television, video, whatever), consider reading some books and learning some things before coming to us. If you'd like to come to us raw, great! But, in that case, we'll ask you to submit to a bit more supervision to ensure that the quality of the show is not compromised, and that people's valuable time is not wasted on a project that cannot be salvaged in editing. That said – go out and fun on your project!
The script you use must first be approved by the WaZoo! Show. Approved scripts are available on the WaZoo! Show website. If you've written, or have access to a script that you'd like to direct, bring it to a WaZoo! Show script writing meeting – these are held on the first Wednesday of every month. As a general rule of thumb, shorter is funnier. The WaZoo Show can use scripts as short as three seconds; and up to (but, under no circumstances, longer than) six minutes. For a beginning director, indeed for any director, we suggest using a script that is no longer than three pages (or three minutes of final, edited material). 95% of our sketches are under 3 minutes.
We strongly suggest creating a storyboard for your project. This will make your life, and the lives of your crew, much easier. Don't worry if you're not an artist. My own storyboards are nothing more than stick drawings; but they work. A storyboard is like a map – if you don't have one, you're likely to get lost. In any case, you'll probably have to submit one to editing along with your raw footage; so, why not do it now?
You'll need a location for your shoot. If you have the perfect location in mind for your script, and you have your sister-in-law's permission to use it, great! Otherwise, consider asking others for help at our monthly meetings. Also, some projects require a set. There are some limited sets (talk show, news desk) available at local cable-access stations. A storyboard will help you decide which location will work best. Wherever you decide to shoot, you'll need permission. For a private location, this can be as simple as asking the home or business owner. Feel free to use the WaZoo! Show name when asking permission; it has been known to open some doors – literally! For a public location, permission can be as simple as calling the city hall and telling them when and where you'll be shooting. If you're shoot involves anything special (like a police motorcycle), you may want to call others (like the police department) as a courtesy.
The minimum equipment you'll need is a camera and a microphone. The WaZoo! Show has a camera for use on projects.
This camera has a built-in microphone – but this is not acceptable. You must use (and use properly) the external
microphone (which is also supplied by the WaZoo! Show). Along with that, you'll almost certainly need a good set
of headphones. A tripod is almost always needed (yes, the WaZoo! Show has one available for use) unless you're
doing all hand-held shots. Are you handy? Would you like to build a steady-cam for us? Other equipment available:
Extension cords and all kinds of adapters, reflectors (for lighting), lights (again, for lighting), a microphone boom,
and...um...some other stuff. Looking for a specific piece of equipment? Come to a monthly meeting and ask. Someone
in the group may have it. Also, every cable network is required to support cable-access in their community. These
cable-access stations often have lots of equipment like studios, lighting, sound, sets, and editing bays, for use for
free. Usually, all that's required is that you be a resident of the community and be a member of the station (for a
nominal fee – you *do not* need to subscribe to cable television). It is the director's responsibility to make sure
that the camera's batteries are charged for the shoot (you cannot run the camera from the AC adapter during shooting
– the adapter will contaminate the sound recording). You must have sufficient batteries (AA) for the microphone, and
sufficient tape for the project. You'll need to make sure that all props and costumes are ready for the shoot. This
doesn't mean that you can't delegate these responsibilities to your cast and crew. In fact, delegation is encouraged!
A special note about tape: During shooting, a tape must remain continuous. In English: During recording, the camera
marks each frame of the video with a time code (time from the beginning of the tape). This time code is essential
during editing. The camera can be turned off and on during shooting and the time code will remain continuous (the camera
will always extrapolate from the time code on the previous frame if there is one). However, if the tape is removed from
the camera and re-inserted later, the time code may become discontinuous i.e. There will be a gap in the time code.
During playback of the tape, this can be seen as a blue screen on the monitor, or as a reset of the time code. This is
very, very bad for editing. To prevent this, you may want to “stripe” the tape before shooting. To stripe a tape:
Insert it into the camera, then, with the lens cap on, record black onto the entire tape before shooting. This takes
time so a workaround is highly recommended: If you must remove a tape from the camera during a shoot, first record
about 10 seconds of anything at all, then remove the tape. When you re-insert the tape later, rewind into this 10
second area and begin recording again from there. This will ensure that the camera can find a frame with a continuous
time code. In any case, try to record at least 30 seconds onto the beginning and end of every tape. This is (once again)
essential for editing. Don't ask me why, but the software we use for editing sometimes has trouble retrieving frames
that are too close to the beginning or the end (within 30 seconds) of a tape. Hint: The 30 seconds at the beginning
would be a good place to slate your talent – or any other information about the project that might be useful to the editor.
The 30 seconds at the end (and by “end” I mean where the time code ends i.e. You stop recording – I don't mean the physical
end of the tape) is a good place to record ambient sound. Just let the tape run for 30 seconds longer than you think you
need to at the end of the day's shooting.
It is the director's responsibility to find a crew for the shoot. This is easier than it sounds. Usually, all it takes is an email to the WaZoo Show asking for a broadcast email requesting a crew. Responses will be directed back to the director; so be prepared for a lot of responses...or none at all. Director's can be their own crew. I've done it; but it isn't easy. And why not give others the opportunity to help you out and learn? Remember, the WaZoo charter stresses learning. I suggest at a minimum, that you find yourself a camera operator, a sound operator, and a gopher. For large shoots, you might also want a location coordinator, an extras wrangler, and a script supervisor.
Talent (especially for free) almost always expect to be fed on a shoot. If your shoot is under a couple hours (figure one hour of shooting per one minute of final (edited) material), then don't worry about food. However, if your shoot is very early, very late, or requests talent over the lunch hour, consider providing some food. Donuts and bagels in the morning are good. Bananas, snack size chips, sodas, and water are good for lunch. Late night: You're on your own. Food is completely optional; and the WaZoo Show will in no way reimburse you for it. In fact, I've never provided food for my crew and talent – I'm just glad they still work for me!
Talent Release Forms are essential and are provided by the WaZoo! Show (there should be some blank ones in the front pocket of the camera trolley); however, it is the director's responsibility to ensure there are plenty of forms on location. The director is also responsible for ensuring that the forms are legible and that they are turned in with the footage for editing. Release forms do not substitute for slating; and slating does not substitute for release forms – both must be presented for editing!
Usually, a little on-location rehearsal is all that is necessary. Especially with a short script. Don't be afraid to ask actors to be “off book” i.e. Have their lines memorized before they show up for the shoot. Ask your actors to run through their lines while you supervise setting up the equipment. It'll help them feel more comfortable and relaxed during the shooting. If blocking (movement) is required, have the actors walk through that too – especially if the location is new to them or to you.
Slate all your talent! In English: Have each actor state their name on tape at the beginning of their first shot of the project. If you've forgotten to bring along (or forgotten to have your talent fill out) talent release forms, this is extremely important. Secondary to the legal aspects, we need to know whom to credit for their work. If your talent warrants a visual credit (their name on screen along with a picture of them), we'd like to match the picture with the name correctly. Remember: Slating does not substitute for release forms!
Tape is cheap! (Relatively.) So, don't be afraid to use it up. Start the camera rolling, wait a couple seconds, then call “Action!” When the action is done, allow a couple seconds before calling “Cut!” This extra footage is essential during editing. Long takes are better than short. Record your scenes in as long a continuous shot you can. Takes can always be cut (separated) in editing; but, it is much more difficult to join separate takes together (come in and try some editing and you'll see why). You may want to clap (label, whatever) all your shots. But, if you have a good storyboard, and short script, this may not be necessary. If you have some scheme for labeling your shots (Act 1, scene 4, angle D, take 5) remember that the editor has no idea what these mean. Be sure to get what you need during the shoot; this will make your job much easier later on. If an actor flubs a line, record another take. When you've got the take you want, record one more “safety shot”. Often actors will relax once they know a good shot is in the can and a safety shot will be the best take of the day. On the other hand, don't over do it. Don't record takes you don't need – if an actor did what you wanted, and it was recorded, make the safety shot and move on. If you want something different, talk to your actor and then record another take. But recording essentially the same thing over and over will only irritate your editor and make your choices more difficult.
If you've gotten what you think you need from a shot and an actor, consider a different camera angle. The same scene, shot from another angle, can often save you during editing. These “cutaways” can be used to hide editing cuts, fix contaminated shots (a shot containing some motion or sound without which, the take would be perfect). This would be a good time to record a close up of each actor in the scene. Don't forget reverse angle shots, and over-the-shoulder shots. Filmmakers have been at this craft for a long time and, believe it or not, there is something of a science to it. Pick up a good book on film directing and learn more.
I said before that the on-board camera microphone is not acceptable for recording your project. It is also not acceptable to use the external microphone and simply hold it beside the camera. The microphone must, ideally be placed within three feet of, and pointed at, the actor's mouth. For long shots, the boom can be used. If the actors are standing apart, the microphone must be swung from one to the other with each line. Rehearse this. Be aware of background noise contamination. Be sure to get ambient sound recorded. Do not move the microphone when recording ambient sound. If there is a sound “over there” you want recorded, record a second take.
Make sure you've recorded everything that's in the script. This may seem self-evident; but things have been missed. A lot of things can be fixed in editing; but a missing line from the script is not one of them. If you record long takes, you'll minimize the chance of leaving something out. In fact, takes can (and often should) overlap lines from the script.
You've just recorded the last take of the day. Congratulations! You're done! Now go have a martini :-)
There are some essential things to include when submitting a tape of raw footage for editing:
Footage must be digitized (or downloaded) onto the hard drive of the editing bay before it can be edited. Keeping a log of your shots during the shoot will make this easier; but it is not necessary (especially for very short projects). You (or the editor) will have to review all the footage and choose which takes are best. Some directors like to digitize all their footage. I try to digitize only what I know I'll be using for editing.
Editing is foremost an art. The computer is just a tool; but, skill with a computer will make the job much easier. Watch movies and television with a keen eye. After a while, you'll pick up on many of the techniques. If you're not comfortable on a computer, talk to your editor about what you want – then walk away. Please don't hover over a shoulder and make a pest of yourself. It'll frustrate both you and the editor. On the other hand, if you'd like to learn editing, pull up a chair, grab the mouse, and go for it. The worst that can happen is that you'll have to re-digitize the tape.
Cuts-only (the action cuts from one scene to the next) editing can work; but it's often boring. At the very least, you'll probably want a fade-from-black at the beginning and a fade-to-black at the end. Transitions require overlapping of footage from one take, shot, or camera angle to the next, so here is where it's very important to have the extra footage at the beginning and the end of a take.
If you didn't record your actor's voices well during the shoot, you may as well stop right here. Hollywood may have the resources to do looping (having an actor come in after the shoot and lip-syncing to the video); but we don't. Voice-overs, on the other hand, are easy. Also, it's easy to add sound effects to your project. There are several websites offering free sound effects. Pull up a browser and do a search on “free sound effects”. Also, the BBC sound effects CD library is available at the Minneapolis library. This collection is considered the epitome of sound effects libraries. I wish the WaZoo! Show had a copy; but a complete set runs about $6000!
Music can greatly enhance your project (when was the last time you watched a television show or a movie that didn't have music in it?) The WaZoo! Show has a resident composer who would be happy to talk with you about creating original music for your project. Permission to rerecord a song in audio only (say, from one CD to another) is called mechanical rights. Permission to rerecord a song onto a soundtrack along with a video image is called synchronization rights. If you want to use prerecorded music (from your favorite CD for instance) you'll need to get permission in writing (synchronization rights) from the record label. The Harry Fox Agency used to handle this; but doesn't anymore. I would have said don't even think about including a song in your project without getting permission in writing; but getting permission is now so problematic that it often can't be done. If you're in love with a piece of pre-recorded music, talk to the Executive Producer of the WaZoo! Show. Remember: Classical music like Mozart is in the public domain; however, a recording of it being performed by the London Symphony is not.
Forget about it. That applies to schools only and even then, it's dubious.