TV in Digital Media

Shan

aree

Laoh

apon

gpha

n

1

Chapter 10: TELEVISION The Power of Sight, Sound, and Motion

Shan

aree

Laoh

apon

gpha

n

2

Combining Sight, Sound, and Motion §  Sisomo –by Kevin Roberts

‣  Captures the powerful effect of combining sight, sound, and motion on the screen.

‣  The way to engage people as they watch on »  a traditional TV set

»  giant stadium

»  or 1-inch cell phone screen.

Shan

aree

Laoh

apon

gpha

n

3 Combining Sight, Sound, and Motion … con’t

§ Ask ourselves: ‣ What part of [the] product story moves?

‣ What motion is inherent in the client product? »  E.g. the visual of beer being poured into a glass

is typical imagery for a beer commercial, but a Super Bowl XL fans do holding up stadium cards to form the imagery of a bottle of Budweiser & an empty glass.

‣  Natural ways to give the commercial movement

Shan

aree

Laoh

apon

gpha

n

4

Preparing to Write Ads for TV Watching TV Commercials with a Critical Eye & Ear 1. What was the single central message or idea?

2. What was the value of the opening shot with respect to that idea?

3. Did you become involved with the commercial? If so, at what point did it happen?

4. To what extent did the pictures, as opposed to the words, tell the story?

Shan

aree

Laoh

apon

gpha

n

5

Shan

aree

Laoh

apon

gpha

n

6

Shan

aree

Laoh

apon

gpha

n

7 Preparing to Write Ads for TV … con’t

Watching TV Commercials with a Critical Eye & Ear … con’t

1. Were interesting, exciting, complicated, beautiful visuals on screen long enough for complete understanding or appreciation? o  Were dull, static visuals on too long? o  How would you make them better?

2. Was the story an irrelevant attention getter, or was the product an integral part of the story?

Shan

aree

Laoh

apon

gpha

n


Watching TV Commercials with a Critical Eye & Ear … con’t

3.  Did you enjoy the story? o  Did you believe it or find some other value in it? o  Or was it unrelated to the product & just there to

make you watch?

4.  Afterward, could you say why you should care about the product or service in a sentence?

Shan

aree

Laoh

apon

gpha

n

9

Shan

aree

Laoh

apon

gpha

n


Getting Your Idea on Paper § The commercial should be unexpected, relevant, and

persuasive. Start by brainstorming how your idea can be communicated visually § What’s the key visual to attract with audience’s

attention.

§  Sound to enhance the visual

Shan

aree

Laoh

apon

gpha

n


Getting Your Idea on Paper … con’t

Now take that idea & write a narrative § Write the way to describe the scenario and lead to

imagination e.g. the TVC by Pepsi Max ‣  ‘Throughout this spot, groups of people are falling

asleep, but then their heads snap back –just like when you nod off on a plane.

Shan

aree

Laoh

apon

gpha

n



Once you’re happy with the scenario, put it script form § Left side à video or visual § Right side à audio

Read the script aloud § Check timing, clarity, continuity. § Do the words & pictures follow a logical sequence? § Product identity? Is there any scene that difficult for

production or shooting?

Shan

aree

Laoh

apon

gpha

n



Revise. Revise. Revise

§ How well does the opening shot command the attention of the viewer?

§ How it relate to the main idea of message?

§ How well does the closing reinforce the main idea & drive home the point?

§ Time spent on the product?

§ etc. Finalize

Shan

aree

Laoh

apon

gpha

n

14

Formats for TVC Demonstration Television § Demonstration can show what the product can do

better than any other visual

‣  Product in use: show how the product use in the scene, like demonstration shot.

‣  Before & After: Show efficacy

‣  Side by Side: Compared with competitor brands

Shan

aree

Laoh

apon

gpha

n

15

Product in use Before & after

Shan

aree

Laoh

apon

gpha

n

16

Product in use

Shan

aree

Laoh

apon

gpha

n

17

Product in use

Shan

aree

Laoh

apon

gpha

n

18

LOTION SERUM

Shan

aree

Laoh

apon

gpha

n

19 Formats for TVC … con’t

Product as Star

Shan

aree

Laoh

apon

gpha

n


Vignette §  Several brief episode are threaded together to

repeatedly drive home the same point. §  Involve with different people at different place, but

still say something relevant to product story.

Slice of Life §  Show the problem of everyday life can be solved by

brand X.

Shan

aree

Laoh

apon

gpha

n

21

Shan

aree

Laoh

apon

gpha

n

22

Shan

aree

Laoh

apon

gpha

n

23

Shan

aree

Laoh

apon

gpha

n

24

Shan

aree

Laoh

apon

gpha

n


Presenters §  Someone who tells why you should buy the product. § Could be expert e.g. nurse, CEO, celebrity, etc.

Testimonials § Experience from the real people

Stories

Shan

aree

Laoh

apon

gpha

n

26

Shan

aree

Laoh

apon

gpha

n

27

Shan

aree

Laoh

apon

gpha

n

28

Shan

aree

Laoh

apon

gpha

n

29

Shan

aree

Laoh

apon

gpha

n

30

Shan

aree

Laoh

apon

gpha

n

31

Camera Shots, Camera Moves, and Transitions

Camera Shots § Extreme Close-up (ECU)

‣ Move as close as you can à part of face, a detail on product

§ Close-up (CU) ‣  Face fills the screen, or product

stands tall, commanding your attention.

‣  Provide visual emphasis

Shan

aree

Laoh

apon

gpha

n

32 Camera Shots, Camera Moves, and Transitions … con’t

Camera Shots … con’t

§ Medium Shot (MS) ‣  Typical show 2 people, from

the waist up, engage in dialog. ‣ May identify the location in

some degree.

§ Long Shot (LS) ‣ Or call establishing shot, cover

the area.

Shan

aree

Laoh

apon

gpha

n

33


Camera Moves § Zoom In/Out (Dolly In/Out)

‣  Zoom in/out: the lens revolves to bring the image closer ‣  Dolly in/out: the camera moves forward and back

§ Pan R/L (Truck R/L) ‣  Pan left/right: the camera turns or follows a moving object ‣  Trucking shot: the camera rolls sideways to follow or keep

alongside the action

§ Tile U/D (Boom or Crane Shot) ‣  Tilt U/D: The camera “looks” up or down ‣  Boom or crane shot: the entire camera and cinematographer are

hydraulically raised or lowered while film or tape rolls

Shan

aree

Laoh

apon

gpha

n

34


Transition § Cut

‣  an instantaneous change from one shot to another

§ Dissolve ‣  the first image gradually becomes more transparent as

a second image becomes more opaque

§ Fade ‣  a dissolve that goes or comes from an image or title to

black or white

Shan

aree

Laoh

apon

gpha

n

35

Editing for Continuity Methods of Cutting § Compilation cutting

‣  Storytelling depends on the narration à voiced over the action.

‣  The shots may consist of a series of different people or objects shot in similar fashion.

Shan

aree

Laoh

apon

gpha

n

36 Editing for Continuity … con’t

Methods of Cutting … con’t

§ Continuity cutting ‣  Storytelling depends on matching consecutive scenes

without a narrator to explain what is happening. ‣  Flows from one shot to the next e.g. »  Conversation shot between 2 people, something happen

in the room, etc.

Shan

aree

Laoh

apon

gpha

n


Methods of Cutting … con’t

§ Crosscutting ‣  Combine 2 or more parallel actions in an alternative

pattern. ‣  Action happen at the same time, but in different

place e.g. »  Husband is driving a car, while his wife is preparing a

dinner at home

Shan

aree

Laoh

apon

gpha

n


Point of View § Subjective v.s. Objective

‣ Objective –camera record the action from viewpoint of an observer not involved in the action.

‣  Subjective –representing the point of view of a person in the scene.

§ Camera Angle ‣  Eye-level camera à camera angle presents a view as

seen by audience.

Shan

aree

Laoh

apon

gpha

n

39

Shan

aree

Laoh

apon

gpha

n

40

Music & Sound Effects

Music, sound effects, and voice-over

Shan

aree

Laoh

apon

gpha

n

41

Getting It on Paper: The TV Script

Shan

aree

Laoh

apon

gpha

n

42

Making It Clear: The TV Storyboard

Shan

aree

Laoh

apon

gpha

n

43

Checklist for TV § Did you think pictures first & add the words later?

§ Did you choose a format that best expresses what you want to say?

§ Did you rely on the entertainment value of your commercial to sell the product?

§ Did you ask if the opening shot will command attention?

Shan

aree

Laoh

apon

gpha

n

44 Checklist for TV … con’t

§ Did you check to see that the product is afforded enough visibility, in terms of time & closeness to the camera?

§ Did you ask if you could move closer to the action to make the action more involving?

§ Dis you use supertitles to help viewers remember important points and, especially, the product name & the campaign theme?

Shan

aree

Laoh

apon

gpha

n

45 Checklist for TV … con’t

§ Did you choose words that add to the picture’s meaning, not that mean the same thing as the picture?

§ Did you make certain that important words are related to the pictures that they’ve been chosen to represent?

§ Did you choose music or sound effects that enhance the message?

Shan

aree

Laoh

apon

gpha

n

46

Briefcase: Hoping to connect with someone a bit on the wild side?

Shan

aree

Laoh

apon

gpha

n

47

Riverbanks Zoo § One of the most popular attractions in South Carolina.

§ The Zoo houses more than 2,000 animals in natural habitat exhibits.

Creative insight § You don’t just see the animals…

§ You bond with them.

§ Their close proximity allows you to connect with them.

Shan

aree

Laoh

apon

gpha

n

48

Creative director explains:

“Our creative needed to pique the interest of our target audience, as well as educate

them on something they might not have known about an animal.”

-Heather Price

Shan

aree

Laoh

apon

gpha

n

49 Intellectual seeks communication. Gray hair a plus.

Shan

aree

Laoh

apon

gpha

n

50

Likes to eat carrots.

Is really tall.

Long legs.

Big heart.

Will eat out of your hand.

Shan

aree

Laoh

apon

gpha

n

51

Results

§  In 2008, the Zoo had 950,000 visits, thanks in large part to the “personals” campaign

Shan

aree

Laoh

apon

gpha

n

Weekly workshop no.5 § Question:

‣  There are many TVC formats (demonstration, product as star,

vignette, slice of life, presenter, testimonials, and stories). ‣  Students are free to select any 5 different TVCs

format from Youtube and indicate the type of each TVC.

‣  The TVC has to be presented in English language (It can come from your own country as long as there is English subtitle)

‣  Individual work

52

Shan

aree

Laoh

apon

gpha

n

Example of submission

§ TVC #1: ‣  Link: http://www.youtube.com/watch?v=hRT4fB0zTM4

‣  Format: Vignette

53

Marketing

TV in Digital Media