Enhanced descriptions from Syndetics:

Directing drama for the single camera is like no other form of Filmmaking, or any other medium involving actors. Experience in documentary or theatre may provide useful clues, but the techniques for drama film directors, although not basically complicated, are unique. Experienced directors in other spheres of directing will find this book invaluable if they wish to move into single camera drama, as will students setting out on their careers. Directing Single Camera Drama is a synthesis of the skills required to bring drama to the screen. Directing drama for the single camera is like no other form of Filmmaking, or any other medium involving actors. Experience in documentary or theatre may provide useful clues, but the techniques for drama film directors, although not basically complicated, are unique. Experienced directors in other spheres of directing will find this book invaluable if they wish to move into single camera drama, as will students setting out on their careers. Directing Single Camera Drama is a synthesis of the skills required to bring drama to the screen. A unique feature of the book is the inclusion of ten short film drama scripts which need only half a day's rehearsal and one short day's filming. Each have their various technical demands, and they are arranged in ascending order of dramatic and creative difficulty. They can be photocopied and used for non-broadcast training drama exercises. Mike Crisp worked as Production Manager, and later Director, on many classic BBC TV series, such as Fawlty Towers, Porridge and Steptoe and Son. He was, for 10 years, a senior producer with the BBC's TV Training Department. He is the author of The Practical Director now in its second edition and also published by Focal Press. Reviews: 'Directors in other spheres of directing who wish to move into single camera drama will find this book invaluable, as will students setting out on their careers.' Voice of the Listener

Table of contents provided by Syndetics

• Acknowledgements (p. vii)
• 1 Introduction (p. 1)
• Stage and screen (p. 1)
• Essentials (p. 2)
• Preserving real time (p. 3)
• Continuity and weather (p. 3)
• Screen essentials (p. 5)
• The scene must hold the audience's attention (p. 5)
• The scene must edit together in a believable way (p. 14)
• 2 Location filming (p. 20)
• The recce (p. 22)
• The director of photography (or lighting cameraman) (p. 25)
• The gaffer (p. 26)
• The sound recordist (p. 27)
• The designer (p. 27)
• The grips (p. 28)
• The production manager (p. 29)
• 3 The director's role (p. 30)
• The producer (p. 30)
• The star (p. 31)
• The actors (p. 31)
• Rehearsals (p. 32)
• Blocking (p. 34)
• Rushes (p. 36)
• 4 Sound (p. 38)
• Microphones (p. 38)
• Post-synchronization and history (p. 41)
• Technical knowledge (p. 43)
• Synch sound or post-synch? (p. 43)
• Post-synch and the low-budget film (p. 44)
• Interrupted dialogue (p. 45)
• Creative use of sound (p. 45)
• Stereo (p. 47)
• Stereo systems in use (p. 48)
• Stereo for feature films versus TV films (p. 49)
• 5 Cinematography--what the director needs to know about it (p. 50)
• Steadicam (p. 55)
• Crossing the line (p. 56)
• Summary (p. 58)
• 6 Storyboards (p. 60)
• Version one (p. 61)
• Version two (p. 61)
• Version three (p. 62)
• Version four (p. 62)
• Getting the shot you want (p. 63)
• 7 Filming dance (p. 64)
• 8 Directing techniques (p. 68)
• Comedy (p. 68)
• Action sequences (p. 74)
• Fights (p. 76)
• Filming with animals (p. 78)
• Breakaway props (p. 81)
• Bullet hits (p. 81)
• Fire scenes (p. 82)
• Smoke (p. 84)
• Lightning (p. 85)
• Action locations (p. 85)
• Chases (p. 87)
• Editing action (p. 90)
• The director's role (p. 93)
• Working with the designer (p. 96)
• Props (p. 97)
• Floor plans (p. 98)
• Mirrors (p. 100)
• Appendix 1 Exercise scripts (p. 103)
• Appendix 2 Glossary (p. 171)
• Index (p. 181)