Studio Production - Researching the Studio Director

To understand how to be a studio director, I need to delve into some material that will assist me in doing so. The first book I picked up was Basic Studio Directing by Roy Fairweather. The problem with the studio director role is that previous units don't necessarily link into this role, which is making  it hard for me to transition. The methodology, terminology and execution are all different from film directing, but I think the hardest transition is the script. However. Here are my notes from the first book I read. 

'The key to holding this type of show together is for the director to know exactly what is happening next and what options are available.' (PG.10)

Basic stage areas is a big thing. Knowing what stage left upstate stage right and downstage are needs to be learnt before I step into the gallery. This can easily be remembered as the left and right are switched, so when you look at the plan stage right on the left and left is on the right. 

PG12

Keeping composure is also a big thing, 'Never shout. Do not shout unless there is a dangerous situation and you need 100% attention'

Direction is more of a journey than something you can get from day one. 'Don't expect to be brilliant from day one'

Now I turned to page 41; commands for script. I found writing a script before I knew the commands challenging and nobody quite understanding what I need from it, calling it on-the-fly isn't advisable. 

This is pretty much all of the commands that I need to use for the script, my first draft of the script was abysmal so now I have all of the commands I can optimise the script to fit it. Especially the pans and crabs from the crane. Some stuff I would never think of using are in here.

Here is some extra parts that will  be fine to add on the script for the vision mixers to use. (71)

Now I wanted to learn more about reaction shots, and this book actually has a lot of information about the methodology behind reaction shots and the over saturation of them. 

'There is a great temptation what directing interviews is always use a shot of the person speaking. This can be visually dull and is completely unnecessary, as the audience knows who is talking and can hear what they are saying even if they can't see them." PG - 100

Also, dealing with performers is something that I'm used to in directing, but not being in the same room as the performers is a different feel and it might not be as instant. plus the fact that it is going to be a debate show its hard to judge how something will come out. If we try to control most of the outcome it would be good. 'You must know who is sitting and their view-point. Then you can predict in advance who will clash with whom.'