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(YouTube) Video Of course, most of you skipped the 2013 Tony Awards opening number starring Neil Patrick Harris. That's no excuse for ignoring CBS TV director Glenn Weiss and his animated jump-cut cues in realtime   (youtube.com) divider line 44
    More: Video, Neil Patrick Harris, Tony Award, television director, jump cuts  
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5072 clicks; posted to Video » on 03 Jul 2013 at 8:34 AM (1 year ago)   |  Favorite    |   share:  Share on Twitter share via Email Share on Facebook   more»



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2013-07-03 08:48:28 AM  
TAKE!
 
2013-07-03 08:53:11 AM  
Nicely done!
 
2013-07-03 08:57:47 AM  
That looks like it would be so much simpler with touch-screens.
 
2013-07-03 08:58:41 AM  
I should add, I was impressed and amused. I love watching people who are truly masters of something, it's artistic in its own way.
 
2013-07-03 09:02:58 AM  

Ecobuckeye: I should add, I was impressed and amused. I love watching people who are truly masters of something, it's artistic in its own way.


When your a TD in a tv control room like that, you tend to yell, mostly because everyone else around you is talking.  And when you want to make those big artistic camera shots work, you get worked up.

I worked with a TD in TV news that was like that, and she cursed like a sailor.  It was funny.
 
2013-07-03 09:07:16 AM  
That was cool.
 
2013-07-03 09:37:11 AM  
Awesome!
 
2013-07-03 09:38:12 AM  
One afternoon of rehearsal and every single one of them hit their marks every single time. No other talent pool on earth can do what Broadway does.
 
2013-07-03 09:46:03 AM  
That was kind of annoying. Cool but annoying
 
2013-07-03 10:15:35 AM  
It was impressive and I'm honestly not being snarky when I ask "how was it masterful or artistic when all I really saw was a guy shouting numbers assigned to different cameras?"

Seemed kind of random to me
 
2013-07-03 10:30:20 AM  
"Jump cuts" subby? You don't understand how this works, do you? Television doesn't use a lot of transition effects on live(Or "live on tape") programming, they're ALL "jump cuts".

Guy seemed like he was on a coke bender with some of those cuts, they seemed to be way to fast and unnecessary, but overall, that was rather impressive. Beats the shiat out of the action in the crappy little independent TV station I worked for. Guy needs to take an extra second and make sure his cameras are set up before he cuts to them, though.

buntz: It was impressive and I'm honestly not being snarky when I ask "how was it masterful or artistic when all I really saw was a guy shouting numbers assigned to different cameras?"

Seemed kind of random to me


Because he's not just randomly shouting. For the MOST part, he is checking for the shot he wants, seeing it, and cutting to the camera there. This isn't rehearsed, it's not like camera 1 knows that their first shot is on a close up of the MC, their second shot will be a wide shot of the entire stage, their third of the crowd, their fourth of a medium closeup of the MC, their fifth of stage left performers, and so on.  a lot of times, they cut away from a camera, that camera operator composes a shot he or she thinks will work, and holds on it, then the TD looks at all 7,10 maybe 15 cameras, see a shot he wants, and with no warning, cuts to that camera. Announcing the number is so that the camera operator knows that they are hot and shouldn't try adjusting their shot or re-composing.

I saw only one time he cut to a camera that wasn't ready yet, and it could be that they moved their shoat immediately as he cut to them. Like I said, he's got a picture of how it should work, and makes these determinations on a split second basis, and the end result is all that we the audience see.
 
2013-07-03 10:30:22 AM  

buntz: It was impressive and I'm honestly not being snarky when I ask "how was it masterful or artistic when all I really saw was a guy shouting numbers assigned to different cameras?"

Seemed kind of random to me


Each number represents a camera. He's watching how many all at once? And is basically editing the broadcast on the fly. You can't fark up with that. Try watching the same piece without him yelling.
 
2013-07-03 10:40:26 AM  

tjassen: Each number represents a camera. He's watching how many all at once? And is basically editing the broadcast on the fly. You can't fark up with that. Try watching the same piece without him yelling.


Yeah, I guess that's what I was wondering.  Was he watching each shot and determining which ones he wanted to go to or was he just saying the numbers and when they popped up he determined whether or not he should stay on that shot or try another?

Like 2, nah.  4, nah.  5 looks good.  Ok, next.  9, nah.  3 Ooooh!!  Ok, next!
 
2013-07-03 11:06:00 AM  

buntz: tjassen: Each number represents a camera. He's watching how many all at once? And is basically editing the broadcast on the fly. You can't fark up with that. Try watching the same piece without him yelling.

Yeah, I guess that's what I was wondering.  Was he watching each shot and determining which ones he wanted to go to or was he just saying the numbers and when they popped up he determined whether or not he should stay on that shot or try another?

Like 2, nah.  4, nah.  5 looks good.  Ok, next.  9, nah.  3 Ooooh!!  Ok, next!


No. You only call out what you want. Otherwise the guy sitting next to you who's job is to switch those cameras to broadcast may get confused. Also as someone else said, it's as much for the cameramen to know when they're live.
 
2013-07-03 11:12:51 AM  

Ecobuckeye: That looks like it would be so much simpler with touch-screens.


The puncher was undoubtedly using a touch screen.
 
2013-07-03 11:33:23 AM  
Is it just me or were there so many cuts that you didn't actually get to see the performance that NPH just put on and that everyone in the audiance was so excited about?
 
2013-07-03 11:41:53 AM  

Mobius strip of human stupidity: One afternoon of rehearsal and every single one of them hit their marks every single time. No other talent pool on earth can do what Broadway does.


I have always told my kids I don't give a dang what they choose to do but whatever it is master it. Don't just be OK master it. Even if you want to play tiddlywinks work and be the best tiddlywinks player and you can make a living. True professionals at anything are a joy to watch.
 
2013-07-03 11:42:06 AM  
Pretty impressive that he's able to direct a multi-camera live production WHILE reading a novel on his Kindle.
 
2013-07-03 12:02:08 PM  

walkingtall: I have always told my kids I don't give a dang what they choose to do but whatever it is master it. Don't just be OK master it. Even if you want to play tiddlywinks work and be the best tiddlywinks player and you can make a living. True professionals at anything are a joy to watch.


Grammar, not mastered...

/I keeeed
 
2013-07-03 01:12:43 PM  
how do you know he was actually doing anything all that difficult. I think most people could sit there and holler out different numbers and you wouldn't be able to distinguish if it was a better "cut" than this guy. "Oh no, the director went 9, 4, 2, 3 when he should have gone 9, 1, 2, 4"
 
2013-07-03 01:20:01 PM  

manimal2878: Is it just me or were there so many cuts that you didn't actually get to see the performance that NPH just put on and that everyone in the audiance was so excited about?


Just trying to weed out the epileptics. You don't really need to sit through that crap.
 
2013-07-03 01:36:10 PM  
I've called 4 camera shoots, but have never understood how anyone can keep up with productions this big.  Bravo, sir.

/ sweating just watching it
 
2013-07-03 01:53:51 PM  
He learned that from an NBC show...

http://www.youtube.com/watch?v=DJweM_fDaGA
 
2013-07-03 02:06:53 PM  
"Dude he said your number."

"Yeah, but he didn't say "take" so fark him."
 
2013-07-03 03:45:10 PM  
I've never been in TV, so I'm a bit confused.  I understand the role of the director, but why does he need someone else (or multiple people?) switching the feed to different cameras.  It seems like he has about 9 cameras... can't he do that himself from a simple keypad?
 
2013-07-03 04:01:23 PM  
Wow, to be able to edit like that on the fly and still keep the rhythm of the music and dance production -- y'all are right, it is really impressive to see someone at the top of their game like that.
 
2013-07-03 04:02:59 PM  
The reason you do it that way is because that's the way it's done.  When a better way is developed, they will do it that way.

Quick cuts mean excitement.  The idea that you could have just held on NPH and had anything remotely as entertaining is absurd - the idea he could have yelled random numbers and gotten the same product is on a level with "magnets - how do they work?"

I would argue you could do 137 takes on a sound stage, spend 6 months editing it, and still not come up with a better finished product.   This is truly a masterwork of its type.
 
2013-07-03 04:50:17 PM  

manimal2878: Is it just me or were there so many cuts that you didn't actually get to see the performance that NPH just put on and that everyone in the audiance was so excited about?


Here's the actual end-product.  It's remarkably coherent.

http://www.youtube.com/watch?v=w3IpegKvdt0
 
2013-07-03 05:41:07 PM  

rtaylor92: how do you know he was actually doing anything all that difficult. I think most people could sit there and holler out different numbers and you wouldn't be able to distinguish if it was a better "cut" than this guy. "Oh no, the director went 9, 4, 2, 3 when he should have gone 9, 1, 2, 4"




It's just 6 strings, how difficult could it be?
www.publicdomainpictures.net

/off to practice
 
2013-07-03 06:11:20 PM  

Ecobuckeye: That looks like it would be so much simpler with touch-screens.


He's telling the switcher (human guy who pushes buttons) which cameras to take to screen.
The camera ops are also listening to know when they are the live camera, probably.
 
2013-07-03 08:56:18 PM  
That was simply impressive. If you've never been in the atmosphere of a control room then you will never understand. I did live news switching for a few years and it can be hectic as all get out. Even worse if your doing Chyron and directing at the same time. (morning news)
Anyone know of a station in the Colorado area looking for technical jack of all trades? Please!? getmeoutofflorida
 
2013-07-03 09:56:58 PM  

StoPPeRmobile: rtaylor92: how do you know he was actually doing anything all that difficult. I think most people could sit there and holler out different numbers and you wouldn't be able to distinguish if it was a better "cut" than this guy. "Oh no, the director went 9, 4, 2, 3 when he should have gone 9, 1, 2, 4"

It's just 6 strings, how difficult could it be?
[www.publicdomainpictures.net image 615x410]

/off to practice


Think it was a Marty actually :

www.myrareguitars.com
 
2013-07-03 10:05:12 PM  

downstairs: I've never been in TV, so I'm a bit confused.  I understand the role of the director, but why does he need someone else (or multiple people?) switching the feed to different cameras.  It seems like he has about 9 cameras... can't he do that himself from a simple keypad?


No.  You work your way up.  Pushing the buttons earns about 100K less a year.
 
2013-07-03 10:06:22 PM  

TommyDeuce: StoPPeRmobile: rtaylor92: how do you know he was actually doing anything all that difficult. I think most people could sit there and holler out different numbers and you wouldn't be able to distinguish if it was a better "cut" than this guy. "Oh no, the director went 9, 4, 2, 3 when he should have gone 9, 1, 2, 4"

It's just 6 strings, how difficult could it be?
[www.publicdomainpictures.net image 615x410]

/off to practice

Think it was a Marty actually :

[www.myrareguitars.com image 580x223]



I don't play well enough.
 
2013-07-03 11:23:53 PM  

rtaylor92: how do you know he was actually doing anything all that difficult. I think most people could sit there and holler out different numbers and you wouldn't be able to distinguish if it was a better "cut" than this guy. "Oh no, the director went 9, 4, 2, 3 when he should have gone 9, 1, 2, 4"


I agree. He could have thrown out different camera numbers and it probably would have turned out the same. Unless he missed an obvious shot, it wouldn't have mattered considering the number of switches in this.
 
2013-07-03 11:59:04 PM  

rtaylor92: how do you know he was actually doing anything all that difficult. I think most people could sit there and holler out different numbers and you wouldn't be able to distinguish if it was a better "cut" than this guy. "Oh no, the director went 9, 4, 2, 3 when he should have gone 9, 1, 2, 4"


You'd notice if half the shots were of cameras that were transitioning to their next shot.

If you don't know what it looks like when it's done poorly, it's hard to tell when it's done well.
 
2013-07-04 12:42:08 AM  

trippdogg: The reason you do it that way is because that's the way it's done.  When a better way is developed, they will do it that way.

Quick cuts mean excitement.  The idea that you could have just held on NPH and had anything remotely as entertaining is absurd - the idea he could have yelled random numbers and gotten the same product is on a level with "magnets - how do they work?"

I would argue you could do 137 takes on a sound stage, spend 6 months editing it, and still not come up with a better finished product.   This is truly a masterwork of its type.


For those with really short attention spans maybe. Personally, I find it irritating and a bit gimmicky.

Also, it's really worth noting that when you're actually in the audience watching something like this you aren't getting a hundred different angles / per minute but that doesn't detract from the entertainment value. Good performances will speak for themselves.
 
2013-07-04 12:55:20 AM  
And I've just finished my milk:

Also, it's really worth noting that when you're actually in the audience watching something like this you aren't getting a hundred different angles / per minute but that doesn't detract from the entertainment value. Good performances will speak for themselves.

The numbers are pretty much just done for the cameras. Not that the performances are not great. But it's all done for the TV and it really shows. Always great though. No matter what the perspective.
 
2013-07-04 03:41:32 AM  
not a big fan of all the rapid cuts to be honest.  it's like someone here said: a good performance will speak for itself.  i want to follow the "action" - much like those in the audience are doing - i'm not interested in audience reaction shots.  unless, that is, the action goes out into the audience (like the opening number did at certain key moments).  all this kind of thing does is give me whiplash.
 
2013-07-04 05:42:38 AM  

nyrB: not a big fan of all the rapid cuts to be honest.  it's like someone here said: a good performance will speak for itself.  i want to follow the "action" - much like those in the audience are doing - i'm not interested in audience reaction shots.  unless, that is, the action goes out into the audience (like the opening number did at certain key moments).  all this kind of thing does is give me whiplash.


Agreed. It often seems to me that the use of rapid cuts is the director saying 'Christ this scene / performance is actually pretty tame. Better find some way of distracting people'.

This fight scene from Quantum of Solace being the worst example I can think of: http://www.youtube.com/watch?v=F6XQHYC_d_k
 
2013-07-04 08:38:44 AM  
for the record...

the director calls the camera shots.

the technical director(TD) does the actual switching (punches the buttons)

all camera operators are connected via radio and listening to the director.

that being said, this example shows the best of the best. from the camera operators
to the TD, to the director.

as someone stated above, it's hard to see unless you've seen it done poorly.
(or have been in a control room during a TV broadcast)

and nyrB, The Numbers, with so much happening during this number, a static shot with
a single camera would not have done it justice.

my .02¢
 
2013-07-04 09:11:55 AM  

harrycary: for the record...

the director calls the camera shots.

the technical director(TD) does the actual switching (punches the buttons)

all camera operators are connected via radio and listening to the director.

that being said, this example shows the best of the best. from the camera operators
to the TD, to the director.

as someone stated above, it's hard to see unless you've seen it done poorly.
(or have been in a control room during a TV broadcast)

and nyrB, The Numbers, with so much happening during this number, a static shot with
a single camera would not have done it justice.

my .02¢


Fair enough, but foR ME I think there's a happier balance to be found between that and the 'let's see what happens if we use cocaine to treat ADHD' approach. Generally wide angles when the actions with the dancers, close-ups when it's with NPH; also, they must have done some rehearsals so he could get a rough plan of what to focus on when.
 
2013-07-04 09:15:24 AM  
Worked as a switcher for a director who had a very low-key demeanour - He'd say "ready camera 2....take 2."


When he was mad, he'd say things like "ready camera 2, hurry up 2....damnit...take 2."
 
2013-07-04 04:59:47 PM  

The Numbers: Fair enough, but foR ME I think there's a happier balance to be found between that and the 'let's see what happens if we use cocaine to treat ADHD' approach.


The video just shows the finale, when he goes to 11 with the cutting.   The previous five minutes have plenty of wide, longer-held shots that showcase the performers doing their thing.

As someone else noted already, here's the whole thing as it aired:  http://www.youtube.com/watch?v=w3IpegKvdt0

If that seven-minute sequence was in a feature film, an editor would probably spend weeks cutting it.  This fella did it in real time.   Respect.
 
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