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The British Broadcasting Corporation—the BBC—has no competitors for the title of World’s Best Broadcaster. With its own training facilities, the BBC is legendary for teaching its production staff the many skills necessary in the field of television, and has produced what is considered the best television training course in the world. Now available in a series of focused video programs devoted to major concepts and methods, the BBC Film and TV Production Training Course provides both novices and experienced pros with technical skills, intellectual insight, and a new respect for the profession of producing for television. 13-part series.
The series includes: Camera Mountings, Continuity and the Single Camera, Continuity:Tricks of the Trade, Creative Editing, Electronic Effects, Filming Action, Graphic Design, An Introduction to the Studio, The Making of the Television News, Script to Screen, The Television Designer, Visual Effects for TV: The Battlefield, Writing Commentary
This program demonstrates the uses of a range of camera mountings to help directors and camera operators on location shoots decide which might offer the most appropriate solution to a series of problems. While the commonest mounting for a camera on location is the simple tripod, there is a range of alternative equipment with which to achieve special shots or work in particularly difficult situations. The program also addresses such questions as whether the costliest equipment is necessarily the best, how to film action from a moving car or motorcycle, and how to deal with the problems involved in hand-held shooting. (11 minutes, color) Part of the series The BBC Film and TV Production Training Course UKP 25.00
This program covers basic continuity as it applies to documentary programs and simple drama setups. It stresses the vital importance of detailed and accurate observations and notes on every aspect of every shot; gives some stark examples of what happens when continuity is handled sloppily, superficially, incompletely, or inaccurately; and offers hands-on, practical advice on executing the job effectively and with the omniscience and prescience necessary for this critical cog in the filmmaking process. (25 minutes, color) Part of the series The BBC Film and TV Production Training Course UKP 50.00
This program builds on the information presented in Continuity and the Single Camera, considering the wider implications of continuity and showing its role in more complex dramatic situations, including a card game and a simple fight. The program includes commentary by production assistants from a variety of television disciplines, a film editor, and a videotape editor. (40 minutes, color) Part of the series The BBC Film and TV Production Training Course UKP 75.00
This truly extraordinary package offers the student of film and video the opportunity to edit the final scenes of a “period” Gothic horror story.
In the first videocassette of this four-part set, George Baker, the star of the drama and host for the exercise, explains that “arguably the most important skill for any director is the ability to shoot material that will free the film editor from the constraints of real time.” Then the film Bright Wolf —shot on location and at the Ealing Film Studios with a production team drawn from the staff who regularly produce the BBC’s Classic Film Drama series—begins. This story of mystery and witchcraft, set in the England of the 1850s, unfolds for 25 minutes. After that, it is all up to the student. The second videocassette consists of the unedited rushes needed to complete the story. The film ends with a fight on a blazing staircase, as a werewolf fights for his life and a cavalry officer gallops through a thunderstorm to rescue the heroine. The rushes leave ample opportunity for creative editing. The third cassette contains a selection of music and effects from which students can compile a sound track for their story versions. The fourth cassette is the film as completed by the director—not necessarily the definitive version, as students may create better endings.
The package comes with a marked-up script and a full set of the director’s notes.(4 parts, color: Part 1, 30 minutes; Part 2, 98 minutes; Part 3, 26 minutes; and Part 4, 15 minutes) Part of the series The BBC Film and TV Production Training Course UKP 160.00
This program provides a detailed examination of the principles and applications of chromakey and digital video effects and offers a fund of ideas for the application of electronic effects in television and film programming. It analyzes a number of examples of complex sequences from BBC productions and demonstrates how the sequences were made. (37 minutes, color) Part of the series The BBC Film and TV Production Training Course
This program is devoted to some of the skills a director needs to bring convincing fights and chases to the screen. As a knight and his squire escape from the wicked baron’s castle, George Baker, the star of many a swashbuckling epic, explains the various directorial techniques underlying such screen heroics, and discusses with a stunt man the safety requirements for high falls and rope ascents. The program also covers: the effects created by lenses of varying focal lengths; the effects of excessive use of slow motion; staging gun fights and fisticuffs; safety hints for the use of firearms and pyrotechnics; the importance of sound effects; and the critical role of location research. The final section deals with the use of stunts and photographic trickery for comic effect, and demonstrates what happens when an action sequence gets out of hand. (23 minutes, color) Part of the series The BBC Film and TV Production Training Course UKP 75.00
This program shows the range and diversity of visual ideas appropriate to television production and the ways in which various techniques can be used by the graphic designer. It shows the role of technological developments in graphic design, while stressing that technology is no substitute for good and fresh visual ideas; describes in detail how title sequences are produced, both for large- and for small-budget programs; and shows how graphic designers approach designing such live programs as the weather report and sports coverage. (34 minutes, color) Part of the series The BBC Film and TV Production Training Course
This program provides a broad picture of work in a television studio, introducing the production team and the studio crew and explaining what they do, looking at the equipment available in a modern broadcast studio, and showing the basic shots and camera moves that a studio pedestal can make. The program covers the planning process and explains how the BBC methodology, which stresses camera script and floor plan, contributes to the cost-effective use of studios. (17 minutes, color) Part of the series The BBC Film and TV Production Training Course
This program offers a behind-the-scenes view of how television news is produced, following events on one day from early morning until the end of the six o’clock news to show the extraordinarily complex process by which teams of reporters and cameramen around the world relay the news to the BBC Television Centre in London. The program shows how newscasters and the production team decide which stories to use, how they should be presented, and how long each story should run. It also shows how new stories are recorded, edited, illustrated with graphics, and then updated or dropped as later or more important news comes in. (40 minutes, color) Part of the series The BBC Film and TV Production Training Course
Producing a situation comedy for television is a complex process that involves hundreds of people, from production and design staff to gofers; it requires hundreds of hours of work to cast, design, and rehearse each half-hour episode. This program follows the process culminating with the actual taping. It shows the director blocking his shots, the role of costume and makeup, and the director viewing the tapes and logging time codes in preparation for editing. (39 minutes, color) Part of the series The BBC Film and TV Production Training Course UKP 75.00
The role of the designer goes beyond designing sets. This
program follows the designer through the complete production of a
half-hour episode of a sitcom. It touches upon budgeting,
coordinating with construction crews, working on location, buying
props, and working on the studio floor. (27 minutes, color) Part
of the series The
BBC Film and TV Production Training Course UKP 50.00
This program follows the three-day build-up to a major battle scene: the reenactment of the Battle of Waterloo. Although the final sequence runs only a few minutes and was shot in a single day, the scene involved over a hundred extras, a team of visual-effects designers, and dozens of dressers, makeup artists, stuntmen, glass artists, and others. The program shows the transformation of a bare section of countryside into a scene of carnage and shows how, despite shots, shells, fire, and xplosion, the day passed without any real casualties. (30 minutes, color) Part of the series The BBC Film and TV Production Training Course UKP 50.00
A very useful guide to techniques for television writing, this program looks at methods of writing and the choice of appropriate language to accompany pictures. It demonstrates how to prepare the shot list which forms the basis for the writing of commentary and how to write detailed commentary to fit the shot-listed program precisely. Two sequences use the same basic raw material to show how to create effective commentary. The program examines the uses of wild tracks, sound effects, graphics, and music. It also includes a number of sequences from the most distinguished commentary writers, among them Sir John Betjeman and Alistair Cooke, to demonstrate how commentary can totally transform a program. (30 minutes, color) Part of the series The BBC Film and TV Production Training Course
Whether a documentary lasts an hour or only five minutes, it is unlikely to hold viewers’ attention unless it has a dramatic structure. In this program, Michael Latham and John Mansfield, who have both produced many award-winning BBC series, analyze various easily learned techniques that underlie successful documentaries. (32 minutes, color) Part of the series More Film and TV Production Programs from the BBC UKP 35.00
Interviews are the core material of a large proportion of television output, providing a megaphone for some and a keyhole into the lives of others. With good production, a few telling seconds from an unknown can occasionally have more impact than an entire one-hour program. But how do you conduct an interview, prepare the questions, select the interviewee, and put him or her at ease in front of a camera, either on location or in the studio? These questions and others are addressed in this program by Michael Latham and John Mansfield, two world experts in the art and craft of the interview. (30 minutes, color) Part of the series More Film and TV Production Programs from the BBC UKP 35.00
Nick Ross has over 20 years’ experience in front of the camera presenting television programs and doing interviews; behind the camera, he has been writer, researcher, and producer. In this program he reveals many of the aspects of his technique—essential and fascinating lessons for both the would-be presenter and the trainee producer/director. From the mystique of earpieces and TelePrompTers to the problems of dealing with producers, Nick Ross explains the joys, the pitfalls, and the challenges of being a TV presenter. (32 minutes, color) Part of the series More Film and TV Production Programs from the BBC
This program describes how techniques of the TV interview have changed in the past 40 years, showing how increasingly sophisticated techniques have been matched with greater frankness in the conduct of interviews. It also describes the role of the interviewer in trying to get behind the public faces of notables to determine the truth about formal claims or public façade. (24 minutes, color) Part of the series More Film and TV Production Programs from the BBC UKP 35.00
This program shows some of the skills used by a variety of interviewers to get their subjects to open up, relax about themselves, and speak to a wide TV audience about personal things they might not tell their best friends, or—in the case of the rich and powerful— get under the skin of the interviewee to ferret out the real person beneath the public persona. (27 minutes, color)Part of the series More Film and TV Production Programs from the BBC UKP 35.00
This program demonstrates that control over time is only possible if single-camera direction has been competently executed. Sequences explain the methods of expanding and contracting real time when editing; how to direct a series of interviews and edit them into a polished sequence; and how best to direct dialogue in a drama so that editing can be sympathetic to the dramatic impact of the scene. (25 minutes, color) Part of the series
This program shows how to synchronize narration with pictures, not only to get the words to fit the pictures but also to make the images more interesting as a result of the words. Excess commentary annoys by its verbosity, while too little deprives viewers of needed information. This program shows how to make a shot list efficiently, write the script (and do so without using a stopwatch), and avoid wasting money in an on-line studio. It demonstrates some of the key differences between the production of videos and film in terms of editing. (23 minutes, color) Part of the series More Film and TV Production Programs from the BBC
“The pictures must tell the story” is true enough, but the intelligent addition of music and sound effects can often help even the finest pictures tell their story by enhancing them with mood, drama, and additional information. This program outlines the basic techniques of sound in film and video and provides many examples of their application. It also demonstrates the precautions necessary to make sure that what you shoot with synchronous sound actually sounds like what you heard on location when you try to edit it back at base. (26 minutes, color) Part of the series
Freddie Young is not only a triple Oscar-winning director of photography, he is also one of the few surviving film technicians whose careers date back to the days of available-light studios and hand-cranked cameras. Here he reminisces about his career, from the first silent feature, Victory, through Goodbye, Mr. Chips and past Lawrence of Arabia, chronicling the development of cinema in the U.S. and England and shedding light on the practical problems and working conditions of the film maker from 1917 to the present day. (41 minutes, color) Part of the series More Film and TV Production Programs from the BBC
Allan Tyrer has edited many of the most innovative
documentaries shown by the BBC. He is a film editor with whom
directors love to work because of his stunning ability to make
the most of even the humblest rushes and build sequences of
sustained emotion and mood. Here he reveals both the range of his
intuition and sympathy, which the viewer can admire but hardly
mimic, and a host of brilliant insights and yardsticks which the
viewer can indeed adapt to his or her own use. (35 minutes,
color) Part of the series More
Film and TV Production Programs from the BBC
Watson is particularly known for his documentaries about ordinary, unglorious, unglamorous, and sometimes not upstanding people, winning the confidence of the closed, suspicious, and not always articulate subjects of his films. In this program, he describes his role as director and author of the films he directs, stressing his dependence on other members of his team and relating the psychological and intellectual as much as the technical skills involved in making documentaries. (34 minutes, color) Part of the series More Film and TV Production Programs from the BBC
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