Basic TV Ad Production
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Basic TV Ad Production

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TV Advertising Production

TV Advertising Production

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Basic TV Ad Production Basic TV Ad Production Presentation Transcript

  • TVC Production Techniques in Print and Broadcast Advertising
  • TVC Production Process
  • Creating Effective TV Commercials
    • Begin at the finish.
      • Concentrate on the final impression the commercial will make.
    • Create an attention-getting opening.
      • An opening that is visually surprising or full of action, drama, humor or human interest sets the context and allows a smooth transition to the rest of the commercial.
    • Use a situation that grows naturally out of the sales story.
      • Avoid distracting gimmicks. Make it easy for viewers to identify with the characters.
  • Creating Effective TV Commercials
    • Characters are the living symbol of the product.
      • They should be appealing, believable, nondistracting and most of all relevant.
    • Keep it simple.
      • The sequence of ideas should be easy to follow. Keep the number of elements in the commercial to a minimum.
    • Write concise audio copy.
      • The video should carry most of the weight. Fewer than 2 WPS is effective for demonstrations. For TVCs, 101-110 words is most effective. More than 170 words is too talky.
  • Creating Effective TV Commercials
    • Make demonstrations dramatic but believable.
      • They should always be true to life and avoid the appearance of camera tricks.
    • Let the words interpret the picture and prepare viewers for the next scene.
      • Use conversational language; avoid “ad” talk.
    • Run scenes five or six seconds on average.
      • Rarely should a scene run less than 3 seconds. Offer a variety of movement-filled scenes without “jumping”.
  • Creating Effective TV Commercials
    • Keep the look of the video fresh and new.
  • TVC Script
    • VIDEO
    • Contains description of visuals and production: camera angles, action, scenery and stage directions
    • AUDIO
    • Lists spoken copy, sound effects and music.
  • Film techniques
    • SHOT
      • Basic visual element in a film
      • Continuous view made by one camera without interruption
      • Each shot is a take. A number of takes may be required to make one acceptable shot
      • A scene may consist of one or more shots taken from different angles and distances
  • 3 Important Considerations
    • Area included in the shot
    • The viewpoint
    • Camera angle
  • The area included in the shot
    • Extreme Long Shot (ELS)
      • Panoramic shot that shows a great area seen from a distance
      • AKA Establishing shots because their purpose is to establish a frame of reference for the audience
      • Establishes geographical setting or scenic beauty
  • Extreme Long Shot (ELS)
  • The area included in the shot
    • Long Shot (LS)
      • Less panoramic and a little more specific than the ELS.
      • Setting could be established but the viewer will be better able to pick out and relate to specific individuals within the shot
      • Used to establish all elements in the scene, so that viewers will know who is involved, their location, etc.
  • Long Shot (LS)
  • The area included in the shot
    • Medium Shot (MS or MED)
      • People are filmed about waist high.
      • Camera is close enough to capture gestures, expressions and movements
      • Most common type of MS is two-shot, in which 2 characters exchange dialogues
      • MS are good reestablishing shots after series of close-ups to help reorient viewer to the larger scene, action or setting
  • Medium Shot (MS or MED)
  • The area included in the shot
    • Close Up (CU)
      • CU of a person includes head and shoulders. Variations include: medium CU (between waist and shoulders to above the head), head CU (head only), and choker CU (below lips to above the eyes)
      • Basic use of CU is draw attention to a significant detail such as unique product feature or the emotional reactions of an actor.
      • Backgrounds should be kept simple or simply out of focus
      • 2 basic editing uses of CU: Cut-in CU is a CU of a preceding larger shot to heighten dramatic dialogue, isolate significant detail, magnify small-scale action, etc. Cut-away CU is a CU related to but not part of the previous scene. It depicts action simultaneously happening elsewhere.
  • Close Up (CU)
  • The area included in the shot
    • Extreme Close Up (ECU)
      • Focus attention on detail of a detail. Tiny objects or areas, small portions can be magnified.
  • Extreme Close Up (ECU)
  • The Viewpoint
    • Objective-impersonal. Viewpoint of a sideline observer. Characters do not look at the camera.
  • Objective Viewpoint
  • The Viewpoint
    • Subjective-Personal, involved viewpoint (audience or one of the characters). Characters look directly at camera.
  • Subjective Viewpoint
  • Camera Angle
    • Eye Level: sense of equality, attainable
  • Camera Angle
    • Looking down (high angle): gives viewer a sense of superiority on the subject. Makes subject appear inferior.
  • Camera Angle
    • Looking up (low angle): gives a sense of height or superiority to the subject.
  • Visualizing & Describing Movement
    • Side to Side
      • Pan (camera pivots from fixed point to turn and follow the action)
      • Truck (lateral movement of camera when it is mounted and fixed to move parallel to the action without pivoting)
  • Visualizing & Describing Movement
    • Forward or Backward
      • Dolly (in or out)- platform on which the motion picture camera is mounted and can thereby by pushed toward or away from the subject.
      • Zoom (in or out move accomplished by turning a special camera lens (called zoom lens). Can be done at various speeds for various effects.
    Dolly
  • Transitions
    • Fade in: optical transition in which a black screen gradually brightens into an image. Used to begin a story or sequence.
  •  
  • Transitions
    • Fade out : one in which the image gradually darkens to black. Used to end story or sequence.
  •  
  • Transitions
    • Jump Cut: Scenes instantly change without transition
  •  
  •  
  • Transitions
    • Dissolves (DISS)
      • Matched dissolves-two connected scenes are similar in form, motion or content.
      • Overlapping dissolves-slower transitions which 2 scenes can be seen superimposed in the middle of the dissolve.
      • Distorted dissolves-shimmy, ripple, shiver, shake, twist etc.
  •  
  • Transitions
    • Wipe-second scene appears to push the first scene off the screen.
  •  
  • Inserting text and images
    • Superimpose: (SUPER) Product or text appears to float or pasted on the video.
  • Cartoon Network
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  • The End Thank you!