Beginners Guide to TikTok for Search - Rachel Pearson - We are Tilt __ Bright...
Media presentation
1.
2. SHALL WE TAKE A LOOK???
• HTTPS://YOUTU.BE/IQKD-R5B8Z4
3. SETTING/LOCATION
• SET IN NEW YORK CITY-OBVIOUSLY. IS EXPRESSED THROUGH THE USE OF THE CITY LIGHTS, THE FACT THE
BUILDINGS ARE ON A COAST AND THE MOTORWAY BRIDGE.
• A SHOT OF A BLOCK OF FLATS IMPLIES THAT THE SCENE WILL TAKE PLACE INSIDE THE TOWER BLOCK.
• THE SHOT OF THE DOOR AND THE HAND KNOCKING, FURTHER SUGGESTS THAT THE SCENE WILL TAKE
PLACE INSIDE THE APARTMENT.
4. COSTUME AND PROPS
• HARVEY (THE ONE KNOCKING AT THE DOOR) WEARS AN EXPENSIVE LOOKING SUIT WHICH LEADS US AS
VIEWERS TO COME TO THE ASSUMPTION THAT HE IS SOME SORT OF A BOSS WHICH WITH EXISTENTIAL
KNOWLEDGE, I KNOW HE IS. WHEREAS MIKE WEARS A GREY HOODIE, BLACK TOP AND JEANS IMPLYING HE IS
LESS OF A ‘BIG DOG’ WITHIN THE SHOW AND IS OF A LESSER STATUS.
• PROPS SUCH AS A SPLIFF AND LIGHTER ARE KEY TO THE SCENE AS THEY ARE THE DRIVING FORCE BEHIND THE
COMEDY WITHIN THE SCENE. THE PRETZEL BAG IS A SYMBOLISM OF THE CONSEQUENCES OF THE WEED, AS IT
COMMUNICATES THE FACT THEY HAVE THE MUNCHIES.
• A BEER BOTTLE IMPLIES THAT THE BOYS ARE HAVING A GUYS NIGHT AND ARE IN FULL SWING OF THE EVENING.
5. LIGHTING AND COLOUR
• THERE IS A USE OF DARKNESS OUTSIDE IN THE FIRST SHOT TO IMPLY THE FACT IT IS THE EVENING.
• THE SCENE IS DARK, BUT LIT BY A LAMP THAT IS INSIDE MIKES APARTMENT.
• THERE IS USE OF MANY DIFFERENT COLOURED LIGHTS THROUGHOUT THE FIRST SHOT TO IMPLY THE FACT
THAT IT IS SET IN NYC.
6. ACTORS PERFORMANCE AND FACIAL
EXPRESSIONS.
• MIKE=BEGINS WITH A NONCHALANT FACIAL EXPRESSION, WHICH IMPLIES HE IS RATHER FED UP AND
GIVES HIM A CARELESS DEMEANOR BUT IT TURNS INTO A RELAXED, CALM AND COLLECTED DEMEANOR
WHEN HE REALIZES HE IS ALLOWED TO HAVE A GOOD TIME WITH HIS BOSS ( IN CONTEXT WE KNOW THAT
HE REALLY ADMIRES HIM)
• HARVEY= HE BEGINS OFF IN A SYMPATHETIC MANNER TRYING TO PORTRAY A CARING CHARACTER BUT
ENDS UP IN A WILD VIBE.
7. CAMERA MOVEMENTS
• THE SCENE BEGINS WITH TWO ESTABLISHING SHOTS. THE FIRST WAS A LONG SHOT OF THE ISLAND OF NYC, THE SECOND WAS A BIRDSEYE VIEW SHOT
OF A HIGHWAY IN NYC. THEN A TILTED LONG SHOT WAS USED FROM A LOW ANGLE TO COMPREHEND THE SCALE OF THE BUILDING IN THE SHOT.
• THERE WAS A LOT OF USE OF OVER THE SHOULDER SHOTS BETWEEN HARVEY AND MIKE THROUGHOUT THERE CONVERSATION. – X3 BUT 4TH ONE ENDED
IN A LONG SHOT.
• THEN THERE IS A MID SHOT OF MIKE HOLDING THE DOOR OPEN, THEN A MID SHOT OF THE TWO OF THEM, AND THEN A MID SHOT OF HARVEY PUTTING
THE SPLIFF IN ITS MOUTH.
• THE IT GOES TO A CLOSE OF MIKES ARM IN THE AIR WITH A PRETZEL BAG ON HIS HAND.
• THEN IT GOES TO A CLOSE UP OF HIS FACE LYING ON THE SOFA FROM A HIGH ANGLE.
• THEN IT GOES TO A LONG SHOT OF THEN CHATTING TO EACH OTHER
• IT ENDS WITH A CLOSE UP OF MIKE.
8. EDITING
• VERISIMILITUDE IS USED THROUGHOUT THE ENTIRETY OF THIS SCENE AND THE SHOW AS A WHOLE.
• MANY STRAIGHT CUTS WERE USED TO ENHANCE THE REALITY.
• EYE LINE MATCH WAS USED A LOT AND SUPPORTED BY SHOT REVERSE SHOT IN THE CONVERSATION
BETWEEN MIKE AND HARVEY'S CONVERSATIONS, TO KEEP EYE LINE MATCHES TO MAKE SURE THE
VERISIMILITUDE IS KEPT UNDER WRAPS.
• A USE OF LONG SHOT DURATION ALLOWED THE SCENE TO KEEP A NATURAL FLOW AND CONTROLLED THE
INTIMACY OF THE CHARACTERS RELATIONSHIP TO BE FOLLOWED.
9. COMING TOGETHER
• OVERALL, EACH ASPECT BROUGHT TOGETHER A SCENE THAT WAS COMEDIC, HEARTFELT AND HONEST
WHICH WAS ABLE TO TELL A CLEAR NARRATIVE THROUGH: MISE EN SCENE, CAMERA AND EDITING.
• THE USE OF EACH ELEMENT WAS TO ALLOW THE SCENE TO FORM WELL AROUND THE STORY THAT’S
TRYING TO BE TOLD.
