25. discuss the different creative strategies involved in producing television commercial.
A) any TV production has three principal stages. The first stage is the pre-production stage
consisting of scripting, production cost budgeting and casting. It is followed by the
production stage when actually the script is shot employing cinematography and sound
techniques, and ultimately leading to third stage of post-production work of editing, optical
and dubbing.
The different creative strategies involved in producing television commercials are:
Script Layout and Technical Terms: the layout breaks up the script into shots, the
movement of camera, and the inter-connection amongst the shots. The script,
however, should not pre-empt the director’s prerogative of what the cinematographic
treatment of the commercial would be. There should not be excessive details about
cinematography.
Shots: while theatre is all about long shots, cinema about close-ups, TV could be
about both. The most successful TV serials/commercials are, however, built around
close-ups and medium close-ups, resulting in naturalness.
Changing the Shots: let us acquaint ourselves with some terms:
Establishing shot: it introduces a scene, e.g., open on a Victorian palace surrounded by trees.
Wide Angle or Cover Shots: they prescribe a broad view of action/scene.
Tight Shot: they are close-ups. They are so called because of details.
2-Shot and 3-Shot: it indicates the number of people in the shot, when the subject is a group.
Camera Movement: Camera movement either takes us closer to the subject or away from it.
This is achieved by either tracking or zooming.
Tracking; here the camera is moved physically either on a dolly or a track. On location
shooting, tracks are laid for camera movement.
Zooming: in this there is no bodily movement of cameras. Zoom alters the perspective of the
shot and depth of the field. Very long lenses are good for wildlife photography.
Panning: the camera is kept fixed on tripod-head. It is moved in an arc to the left or to the
right. The pan follows action and maintains continuity.
Surveying Pan: the camera pans back and forth across a crowd.
Whip Pan: the camera fast pans and focuses at the time of impact, e.g., a stone thrown at a
window. The camera follows the direction of a stone, and focuses when it strikes the window.
Transitions between Shots and/or Scenes: mostly it is a matter of either compressing
or expanding it. On the other hand, just a fleeting thought of fire breaking out may be
expanded into a screen reality, lasting 20-30 seconds. The devices to do so are
collectively called ‘optical’- wipes, fades, dissolves etc.
A) any TV production has three principal stages. The first stage is the pre-production stage
consisting of scripting, production cost budgeting and casting. It is followed by the
production stage when actually the script is shot employing cinematography and sound
techniques, and ultimately leading to third stage of post-production work of editing, optical
and dubbing.
The different creative strategies involved in producing television commercials are:
Script Layout and Technical Terms: the layout breaks up the script into shots, the
movement of camera, and the inter-connection amongst the shots. The script,
however, should not pre-empt the director’s prerogative of what the cinematographic
treatment of the commercial would be. There should not be excessive details about
cinematography.
Shots: while theatre is all about long shots, cinema about close-ups, TV could be
about both. The most successful TV serials/commercials are, however, built around
close-ups and medium close-ups, resulting in naturalness.
Changing the Shots: let us acquaint ourselves with some terms:
Establishing shot: it introduces a scene, e.g., open on a Victorian palace surrounded by trees.
Wide Angle or Cover Shots: they prescribe a broad view of action/scene.
Tight Shot: they are close-ups. They are so called because of details.
2-Shot and 3-Shot: it indicates the number of people in the shot, when the subject is a group.
Camera Movement: Camera movement either takes us closer to the subject or away from it.
This is achieved by either tracking or zooming.
Tracking; here the camera is moved physically either on a dolly or a track. On location
shooting, tracks are laid for camera movement.
Zooming: in this there is no bodily movement of cameras. Zoom alters the perspective of the
shot and depth of the field. Very long lenses are good for wildlife photography.
Panning: the camera is kept fixed on tripod-head. It is moved in an arc to the left or to the
right. The pan follows action and maintains continuity.
Surveying Pan: the camera pans back and forth across a crowd.
Whip Pan: the camera fast pans and focuses at the time of impact, e.g., a stone thrown at a
window. The camera follows the direction of a stone, and focuses when it strikes the window.
Transitions between Shots and/or Scenes: mostly it is a matter of either compressing
or expanding it. On the other hand, just a fleeting thought of fire breaking out may be
expanded into a screen reality, lasting 20-30 seconds. The devices to do so are
collectively called ‘optical’- wipes, fades, dissolves etc.
