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248 RUDY BRETZ March
In end result, the process of cutting television is very similar to that of cutting motion pictures, but the method is entirely different. A film editor may take weeks to cut a show, deliberating over each decision. A television director has to do his job during the show itself. He must rely on fast thinking, quick reaction time, and thorough preparation. In some cases he relies on his script, or on his assistant, who follows the script. The sight of the television director excitedly calling shots ("Take Two! Take One!") has led some to think that shot calling is all there is to television directing. Some directors actually do forget to make full use of their cameras, because they are so occupied with just the problem of cutting.
In creative production a good director plans his cuts, just as he plans his camera shots : on paper. If he has had enough experience, he can visualize the effect of a cut, even between two shots which also exist only in his mind, or as thumbnail sketches on the margin of the script. He will not limit himself to what he has planned, however, once he has produced the shots with cameras and watched the effect of the cut on the master monitor. He may change the camera shots to improve the cut, or he may change the timing of the cut itself.
By far the greatest number of television shows, however, are produced with little or no rehearsal; and the cutting cannot be planned in advance. Even if camera shots are set in rehearsal, the cutting is very rarely the same on the final air show. This is because the timing of the cut or the choice of camera depends mainly on the performers. If they deviate from the rehearsed routine, or go through actions which have not been rehearsed at all, the director must be on his toes to adapt his cutting to their performance. This is called "off-thecuff" shooting, "ad lib" cutting, or "winging" the show. The method of control-room operation makes a lot of difference in whether this kind of cutting can be successful.
METHODS OF CONTROL-ROOM PROCEDURE 1 . The Switcher System
Under this system the director is in constant inter-phone connection with the cameramen. He is responsible for the placement and use of the cameras, and is considered in direct charge of the cameramen. He "calls his shots" to an engineer, whose function it is to punch the buttons which switch from camera to camera. This engineer is sometimes called the "switcher," sometimes the "technical director" (T.D.). This is the most common method in use today.