From Script to Screen: How Behind-the-Scenes Skills Make You a Better Actor

Being on set is brilliant for confidence, for experience and a whole lot of fun! But it can be quite intimidating if you are new to acting and don’t know where to start.  With these tips, tricks and insights into the world of film and tv, you too can be confident in front of the camera! Here’s the ultimate guide to gaining better knowledge and understanding of on set lingo, cinematography and lighting know how!
Blocking
Blocking is so important to master as a performer. The precise setting of actors movements and positioning can shape the visual story telling as well as impacting how the audience read the scene. Directors can be very specific on how a scene plays out as how you move can present emotional depth and can be key to the narrative construction. Directors will tell you where to stand, where you can add some movement and where you will be walking in a scene so don’t panic about not having clear instructions. If you have any questions in with blocking, just ask. Getting used to communicating with others and building these relationships on set allows for a smoother, more efficient working environment.
Regarding actually hitting the mark, the crew can offer you tape as a visual aid or using a physical marker (where you walk onto the marker and feeling it with you foot) so you know when to stop walking without looking down. Being aware markers and blocking in general allows you to plan your movement within the space you are given.


Lighting and Blocking
Lighting in film and tv isn’t just about being able to see the performer or the setting but it can help create a story. Lighting can tell the audience a characters phycological state, where the viewer should look (if there’s a prop that’s key to the narrative) as well as hinting to the genre of the film.
Cinematographers or directors of photography work with the gaffer (the head of the lighting department) to help grasp the vision of the director. Together, they create a mood or aesthetic using lighting to cast shadows, create a specific colour scheme and to ensure the actor and their surroundings lit in a certain way. Think Wes Anderson. He has a very specific personal style which ties into the lighting and cinematography of the scene. We will look to cinematography later on but let’s think about lighting. The lighting often brings out the colours in the set and costume to create a dreamlike feel and he avoids harsh shadows. This is where the actor comes in. As a performer, you have to be aware of blocking. Lights are set up very specifically and intentionally.
The lighting could illuminate one side of the performers possibly showing they are battling with a decision or that they are two faced and have a hidden agenda. Under lighting can illude to evilness or intimidation. Using shadows can show the character is being shady or doing something off book (think Rick in Casablanca 1942 when he takes money out of the safe- he isn’t seen physically but his shadow depicting his actions illudes to moral ambiguity). Being aware of techniques like this and adjusting your blocking accordingly improves your on screen performance and overall look while keeping a flow on set.


Blocking and Cinematography
Framing and shot composition can show characters motives, show the audience something they need to see for the narrative flow and to give off a certain visual style.
Lets look into some common framing and shots filmmakers use and things you as an actor should be aware of:

• Wide shot- showing the actors full body with a lot of background. This gives you a larger space to act in however,  make sure not to go too extravagant with  body movements as they won’t match the closer shots.
• Mid shot- showing from the waist up.
• Close up- showing from the shoulders up. Generally used to gain emotion from the actor, making the scene emotionally rich. The frame is tight and doesn’t allow for much movement without moving the camera.
• Extreme close up- focusing on a certain feature like eyes or lips. Ensure not to move too greatly as the camera will be focused in on something every specific.
• Over the shoulder shot- a typical shot to show a conversation. The camera sits behind one actors shoulder (getting some of them in frame) to shoot another actor who is talking. These flip, adhering to the 180 degree rule (to form a conversation).  Be aware of the camera positioning, making sure not to lean in front as not to obstruct the view of the other performer who is talking.
• Point of view- when the camera almost becomes one of the characters. The other characters respond to the camera as if they are a person, bringing the audience directly into the scene. Instead of playing in front of the camera, the actor needs to play with the camera.

All these camera shots require a level of understanding from the actor so they can act accordingly regarding blocking.
Shot composition refers to the way elements of a scene are arranged in a camera frame. Composition helps with the narrative, visually telling the story. The rule of thirds generally takes action in this sense. The frame is spilt up into thirds (the first being on the left and the third being on the right) but then is further split creating nine boxes. As we read from left to right, putting actors in the first third and moving to the third visually sound which filmmakers use for clarity. However, reversing this can give off a sense of unease or that something is wrong- creating a whole new meaning to the scene. When acting, be aware of where the director and director of photography want you to be. If you are framed in the first third, be aware of your movement as it is possible to travel when involved in a scene but this can throw off the visual style of the piece. Looking back to Wes Anderson, within his personal style symmetry is at the forefront of most scenes; the actor is stood in the second third with the background sitting evenly around them. Moving from this position would change the scene and the desired look.
Leading lines are used in shot combinations to draw the eye of the viewer as well as connecting the character to essential objects. They can be both physical (for example architecture, roads, fences, or shadows that guide the eyes) and imaginary (if three character that are close are having a conversation, they could form a triangle in their blocking signifying their closeness) in a scene but ultimately help coney essential context to the viewer. A single straight line represent clarity while a diagonal line feels canted and unstable. All these factors create a tone in the scene and as an actor you need to be aware of those leading lines. The imaginary lines are often made up from the actors blocking so they need to ensure they are conforming to this direction. Make sure not to lean or step out of the lines as it can disrupt the imagery.






On Set Lingo
So many creative bodies are involved when it comes to making film and tv productions. Certain lingo is thrown around that you may or may not be aware of that may help better understand what’s happening on set especially when it comes actually filming. Here is what is normally heard when rolling for record in order.

• First assistant director- ‘’Quiet on set please’’- asking for quiet so the crew can hear the following directions.
• First assistant director- ‘’Roll sound’’- asking the sound operator to start recording sound.
• Sound operator- ‘’Sound speed’’- indicating they have started recording. This happens before the camera rolls as actual celluloid was expensive so they left filming until the last possible second.
• First assistant director- ‘’Slate in’’- to signify the clapper board needs to be in front of the camera.
• Clapper loader puts the slate into frame.
• First assistant director or camera operator- ‘’Call it’’- clapper loader calls the shot and scene. The camera doesn’t need to be rolling as they don’t need the sound, just the visual of the clapper closing.
• First assistant director – ‘’Roll camera’’- asking for the camera to be recording.
• Camera operator- ‘’Rolling’’- signifying the camera is recording.
• Clapper loader- ‘’Mark’’- they clap the board.
• First assistant director- ‘’Action’’- signifying for the scene to begin.

The clapper loader (or second assistant camera) may call for soft sticks if the shot is close to the actor, meaning the close on the clapper board won’t be as loud in the actors face. They may also call for an end board where there is no clap at the start (possibly if they cannot get into the frame) but they will close the board at the end so be aware the camera panning and the clapper loader moving into shot. Some other general lingo to listen out for is lighting crew shouting ‘’Striking’’ which signifies a light will shine onto the set so be prepared for a light coming your way.


Some things newer actors may need to know is script formatting. There are some terms or shorthand that can be confusing but knowing them can help with a clearer and more smooth read through.

• (O.S)/ (O.C) next to a character’s name before dialogue- standing for off screen or off camera. The character isn’t seen when they say this line.
• (V.O) next to a character’s name before dialogue- meaning voice over. The dialogue is related to the scene but isn’t in the scene- acting as a characters thoughts for example.
• INT./EXT- shown in the scene line. Interior/ exterior showing where the scene is set- in or outside.
• Beat/…- these are interchangeable. They signify where the actor should linger or pause, used for showing larger emotions.
• Fade to/ Fade in/ Cut to- these are more for the crew then actors as they are transitions from scene to scene.

Professionalism is key on set but that doesn't mean you have to stay silent if you don’t understand something. If you need clarification with blocking or what you need to do just ask! Communication is so important and everyone will be understanding. With these skills and knowledge at your disposal should give you a head start for set life and hopefully make you feel more confident for your next acting job. From on script reading to screen acting you have everything you need.

Author

Liv Green