Basic TV Ad Production


Published on

TV Advertising Production

No Downloads
Total Views
On Slideshare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Basic TV Ad Production

  1. 1. TVC Production Techniques in Print and Broadcast Advertising
  2. 2. TVC Production Process
  3. 3. Creating Effective TV Commercials <ul><li>Begin at the finish. </li></ul><ul><ul><li>Concentrate on the final impression the commercial will make. </li></ul></ul><ul><li>Create an attention-getting opening. </li></ul><ul><ul><li>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. </li></ul></ul><ul><li>Use a situation that grows naturally out of the sales story. </li></ul><ul><ul><li>Avoid distracting gimmicks. Make it easy for viewers to identify with the characters. </li></ul></ul>
  4. 4. Creating Effective TV Commercials <ul><li>Characters are the living symbol of the product. </li></ul><ul><ul><li>They should be appealing, believable, nondistracting and most of all relevant. </li></ul></ul><ul><li>Keep it simple. </li></ul><ul><ul><li>The sequence of ideas should be easy to follow. Keep the number of elements in the commercial to a minimum. </li></ul></ul><ul><li>Write concise audio copy. </li></ul><ul><ul><li>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. </li></ul></ul>
  5. 5. Creating Effective TV Commercials <ul><li>Make demonstrations dramatic but believable. </li></ul><ul><ul><li>They should always be true to life and avoid the appearance of camera tricks. </li></ul></ul><ul><li>Let the words interpret the picture and prepare viewers for the next scene. </li></ul><ul><ul><li>Use conversational language; avoid “ad” talk. </li></ul></ul><ul><li>Run scenes five or six seconds on average. </li></ul><ul><ul><li>Rarely should a scene run less than 3 seconds. Offer a variety of movement-filled scenes without “jumping”. </li></ul></ul>
  6. 6. Creating Effective TV Commercials <ul><li>Keep the look of the video fresh and new. </li></ul>
  7. 7. TVC Script <ul><li>VIDEO </li></ul><ul><li>Contains description of visuals and production: camera angles, action, scenery and stage directions </li></ul><ul><li>AUDIO </li></ul><ul><li>Lists spoken copy, sound effects and music. </li></ul>
  8. 8. Film techniques <ul><li>SHOT </li></ul><ul><ul><li>Basic visual element in a film </li></ul></ul><ul><ul><li>Continuous view made by one camera without interruption </li></ul></ul><ul><ul><li>Each shot is a take. A number of takes may be required to make one acceptable shot </li></ul></ul><ul><ul><li>A scene may consist of one or more shots taken from different angles and distances </li></ul></ul>
  9. 9. 3 Important Considerations <ul><li>Area included in the shot </li></ul><ul><li>The viewpoint </li></ul><ul><li>Camera angle </li></ul>
  10. 10. The area included in the shot <ul><li>Extreme Long Shot (ELS) </li></ul><ul><ul><li>Panoramic shot that shows a great area seen from a distance </li></ul></ul><ul><ul><li>AKA Establishing shots because their purpose is to establish a frame of reference for the audience </li></ul></ul><ul><ul><li>Establishes geographical setting or scenic beauty </li></ul></ul>
  11. 11. Extreme Long Shot (ELS)
  12. 12. The area included in the shot <ul><li>Long Shot (LS) </li></ul><ul><ul><li>Less panoramic and a little more specific than the ELS. </li></ul></ul><ul><ul><li>Setting could be established but the viewer will be better able to pick out and relate to specific individuals within the shot </li></ul></ul><ul><ul><li>Used to establish all elements in the scene, so that viewers will know who is involved, their location, etc. </li></ul></ul>
  13. 13. Long Shot (LS)
  14. 14. The area included in the shot <ul><li>Medium Shot (MS or MED) </li></ul><ul><ul><li>People are filmed about waist high. </li></ul></ul><ul><ul><li>Camera is close enough to capture gestures, expressions and movements </li></ul></ul><ul><ul><li>Most common type of MS is two-shot, in which 2 characters exchange dialogues </li></ul></ul><ul><ul><li>MS are good reestablishing shots after series of close-ups to help reorient viewer to the larger scene, action or setting </li></ul></ul>
  15. 15. Medium Shot (MS or MED)
  16. 16. The area included in the shot <ul><li>Close Up (CU) </li></ul><ul><ul><li>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) </li></ul></ul><ul><ul><li>Basic use of CU is draw attention to a significant detail such as unique product feature or the emotional reactions of an actor. </li></ul></ul><ul><ul><li>Backgrounds should be kept simple or simply out of focus </li></ul></ul><ul><ul><li>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. </li></ul></ul>
  17. 17. Close Up (CU)
  18. 18. The area included in the shot <ul><li>Extreme Close Up (ECU) </li></ul><ul><ul><li>Focus attention on detail of a detail. Tiny objects or areas, small portions can be magnified. </li></ul></ul>
  19. 19. Extreme Close Up (ECU)
  20. 20. The Viewpoint <ul><li>Objective-impersonal. Viewpoint of a sideline observer. Characters do not look at the camera. </li></ul>
  21. 21. Objective Viewpoint
  22. 22. The Viewpoint <ul><li>Subjective-Personal, involved viewpoint (audience or one of the characters). Characters look directly at camera. </li></ul>
  23. 23. Subjective Viewpoint
  24. 24. Camera Angle <ul><li>Eye Level: sense of equality, attainable </li></ul>
  25. 25. Camera Angle <ul><li>Looking down (high angle): gives viewer a sense of superiority on the subject. Makes subject appear inferior. </li></ul>
  26. 26. Camera Angle <ul><li>Looking up (low angle): gives a sense of height or superiority to the subject. </li></ul>
  27. 27. Visualizing & Describing Movement <ul><li>Side to Side </li></ul><ul><ul><li>Pan (camera pivots from fixed point to turn and follow the action) </li></ul></ul><ul><ul><li>Truck (lateral movement of camera when it is mounted and fixed to move parallel to the action without pivoting) </li></ul></ul>
  28. 28. Visualizing & Describing Movement <ul><li>Forward or Backward </li></ul><ul><ul><li>Dolly (in or out)- platform on which the motion picture camera is mounted and can thereby by pushed toward or away from the subject. </li></ul></ul><ul><ul><li>Zoom (in or out move accomplished by turning a special camera lens (called zoom lens). Can be done at various speeds for various effects. </li></ul></ul>Dolly
  29. 29. Transitions <ul><li>Fade in: optical transition in which a black screen gradually brightens into an image. Used to begin a story or sequence. </li></ul>
  30. 31. Transitions <ul><li>Fade out : one in which the image gradually darkens to black. Used to end story or sequence. </li></ul>
  31. 33. Transitions <ul><li>Jump Cut: Scenes instantly change without transition </li></ul>
  32. 36. Transitions <ul><li>Dissolves (DISS) </li></ul><ul><ul><li>Matched dissolves-two connected scenes are similar in form, motion or content. </li></ul></ul><ul><ul><li>Overlapping dissolves-slower transitions which 2 scenes can be seen superimposed in the middle of the dissolve. </li></ul></ul><ul><ul><li>Distorted dissolves-shimmy, ripple, shiver, shake, twist etc. </li></ul></ul>
  33. 38. Transitions <ul><li>Wipe-second scene appears to push the first scene off the screen. </li></ul>
  34. 40. Inserting text and images <ul><li>Superimpose: (SUPER) Product or text appears to float or pasted on the video. </li></ul>
  35. 41. Cartoon Network
  36. 44. The End Thank you!
  1. A particular slide catching your eye?

    Clipping is a handy way to collect important slides you want to go back to later.