Knowledge is power

I am a strong believer in the never ending journey of learning your craft. I never went to film school but have learned a lot about film making and directing,  by reading books, making films, being on sets, watching online tutorials, videos,podcast, and teaching.

I believe that the books you might read in school are just as valuable or more so to be read on your own. School is not for everyone. Film making is something you have to get out there and do. The more you do it,and practice the craft the better you’ll get. Also the more passion you have for it the better it will be. (That one is true for anything you set your mind and heart into).

A book I enjoyed for my particular field was “Directing Actors” by Judith Weston. In this book, Judith shares her wisdom with us about “Creating memorable performance for film and television.”  I got a lot from this book about how to work with actors and how to get the most out of them without forcing your own view of the scene upon them. Directing is an art form of it’s own. I am not sure that it is something that can be studied and mastered, like how to aim a light.  We all can calculate the fall off in candles of a light, and what light modifiers do to it. It’s more of a science and math.  Directing is not like that for me. It’s something you feel and have a natural talent at. Some people have it and some people don’t. That doesn’t mean they are bad directors. It  just means that might not be the best place for them, and they have not found that out yet.(Side note :I love lighting and it also is an art)

Another book I enjoyed and found very useful was The DV Rebel’s Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap. A must read for any indy filmmaker that is making an action movie on the cheap. This book really makes you think about why each shot is in the movie and what it means and what is the best way to get the shot on the cheap.

Now I also follow some online blogs and have read the RED forms daily for the last 4 years.  These and many other sites help gain insigh into what’s going on in the industry and keeps me up-to-date with new technology.

Well, that’s all for now. Let me know if I can help you on your way to greatness. (sounds sort of like the sorting hat in HP book one…)

Sean D Brown


In my opinion, all roles on a set, whether TV or film, are as equally important and critical to getting the final shot.  That being said, I want to talk about one of the most difficult jobs on set: the director.

In a TV production, in the field or studio, the director has many things going on at once and a lot of calls and cues to hit as the event is being switched live with multiple cameras.   When I’m opening a show, my rundown from the top usually sounds a bit like this. Cameras to opening position, talent to opening positions, cue up music, cue up cg, cue up lights, cut up roll in, stand by with talent mics, stand by to roll tape, roll tape, (here, I will give a good 10 secs of black, stand by opening credits, which could be a cg or a roll in, take cg ( or roll in) fade up music ( or roll in sound if built in) preview camera 2, stand by to fade out roll in and music, stand by talent in 5, slow fade out of roll in and music, 3 fade up talent mics, any light effects if we have them, 2 cue talent, one, Mics should be live at this point. Take camera 2.

Ok. From here, I then direct my talent, cue up more CG, lower thirds or roll ins, music, and any other effects or lights cues we have planned for in pre-production. So, that is  what a TV studio production can look like from a director’s stand-point. Of course, that is after you have helped decide what the set will look like, made sure the cameras are matching (if it is a small shoot), and you need to oversee everything.

I have directed over 25 live studio/field production shows in the last two years. That might not sound like a lot, but between film directing and my video production business, finding time to do a live-switch production is hard.

Film production is a different concept to directing. I still have to oversee all that goes on in the production, especially when I have a small crew of under 10.  When I am fortunate enough to have a larger crew, I can delegate and trust more on my amazing crews to do their job to make the production run smoothly.

When I am on set, I usually have been through at the least two weeks of pre-production and at most 3-6 months of pre-production for the shoot I am directing. On set, the director is in charge of working with the talent, signing off on the look and camera moves, keeping things on time. On bigger shoots, an AD can do this, watching each take to make sure they are getting what they want, giving the talent direction if they are not getting what they want, knowing when to say “cut” and “print,” and being a professional. A bad director might not know what he or she wants and might not know how to talk to talent or get what they want from the talent or know what shots they want or what devices (camera techniques)  they want to use to aid in telling the story. These people waste the time of the cinematographer, the talent, the crew and the funders if they have them.

A good director, in my opinion, knows a little about all aspects of filmmaking, a alot would be even better.  I grew up an actor in NY doing print-ads, local theater, off-Broadway as a small child, stand in, extra work, commercial work, etc. I have studied cinematography for the last five years and taught filmmaking and TV production for the last four years. I have been almost every role in a film production, holding a boom, being a gaffer, a dolly pusher,puller, make-up (took a college course in it), sound mixer, producer, craft services, talent, editor, and director. Having a well-rounded view of what a set should run like and the crew to produce a good shoot are very important to a director.

Next time you wonder what the person behind the camera staring at a tv set yelling “ACTION” or “CUT” is doing, just remember what they went through to get to that spot and where they are going once the footage hits the can.

Thanks for reading,

Sean D Brown