http://www.cucirca.com/2008/10/07/heroes-season-3-episode-4-i-am-become-death/
Heroes is now considered one of the most successful pieces of television drama at this time, this reputation is achieved by three simple factors, the story lines, the acting and finally the producing. Producing a television drama is made up of factors such as camerawork (what angles to use or what type of shot), editing (weather or not the scene should be reflected with fast or slow pace cuts) and also sound/music (what ambience noises would be expected, or does a certain character require a motif of some sort). These are just three of many more factors that apply when producing any piece of television drama.
The first factor of producing is camerawork. To create a sense of organization the techniques can be divided into categories, point of view of the audience and the point of view of the characters. The scene’s first shot is an establishing shot of the front door, then a pan down from Peters face; these both are showing the perspective of what the audience alone can see. The next occurrence of camerawork used to show this same perspective is the use of a long shot in the kitchen (where the scene takes place) behind all characters, revealing to the audience who is in this scene. As the scene progresses Peter Pertrelli and Gabrielle enter a different room, this is shown by placing the camera in front of the two characters, allowing us to see them walking in. This is one way to display continuity and to communicate with the audience concerning where the characters are and where they are going. The next camera angle in this category occurs immediately after the previous technique. This is a low angle shot of the room they are in, this time however the camera is static. This not only states where Peter Pertrelli and Gabrielle are, but it also is used to highlight the second category, the perspective of the character. This is because previously in the scene Peters mind set is not steady, however now that he reflects more confidence the camera becomes still to reveal this. The final compilation of shots used in this category are; a two shot of both Gabrielle and Peter Pertrelli, followed by a long shot of Noah through the window, finished with a stream of single close-ups of both characters, framed either side of the shots. This technique is used for differentiating the characters.
The second category is the camerawork from the point of view of the characters themselves. The first occurrence of this is a subtle technique used almost immediately; this is a two second shot of a reflection of Peter Pertrelli whilst he is walking through the house, showing what he would see. At first only close ups of objects close to Peter are used as a point of view, however an actual point of view shot of Gabrielle’s son Noah, matched with a slow, unsteady zoom, with cutting to and Peters face, this is to show his amazement with what he is witnessing. Throughout almost this whole scene the camera is unsteady, this is a discrete technique used to reflect Peter Pertrelli’s state of mind, giving us the idea that Gabrielle and he must have history of some kind. As the mood begins to change when Noah reveals to Gabrielle that this is a different Peter, the camera shots are quicker and more intense. This is done cleverly when Gabrielle walks past Peter; the camera begins with a close up of Gabrielle, then a two shot of them both from front and then back. Cutting does not do this; it is one complete camera movement liked together by a slow pan. As both characters are now in the other room, the camera is a lot steadier however not static. The next piece of unique camerawork is a quick blast of shots put together by fast editing but also including a shot that is out of focus, not a focus pull however. As the tension increases the camera is jumping at a fast speed, framing Peter Pertrelli and Gabrielle across the screen, showing the use of Peters powers. The out of focus shot also occurs here when the two characters are head to head for a small period of time, the out of focus shot is only for a second but is effective. Eventually after all tension calms down, Gabrielle begins to exercise his own powers, as he does this the camera begins a slow zoom initiating an extreme close-up, again showing his concentration. To end the scene the camera clearly rotates around Gabrielle’s head showing him not in power at first, then by the time the camera has rotated around to the opposite side he is in a trance within his power. The final shot is an extreme close up of Gabrielle in power for three seconds showing the intensity. These are all examples of unique camera work that are in the point of view of the character.
The second section analysed is the editing. The first technique was easy to notice as the scene began with an immediate bright white transition from the previous scene, revealing Peter Pertrelli standing outside of a house. The effective techniques continue at this point as whilst Peter is walking through the door, match on action takes place, displaying a high level of continuity. As the scene progresses, the pace increases, this is matched by the speed of cutting, as whilst the scene is at a slow pace the cutting from Gabrielle to Peter is also slow. The cuts at this moment in time are slow but also basic, just two cuts involved, where as when the scene progresses in tempo the cuts speed up in unison. A prime example of this is where Peter Pertrelli attempts to withdraw Gabrielle’s powers, to show this, the editing is faster and jump cuts are introduced for the first time in the scene.
The final part analysed was the sound and music. A structured way of describing these techniques is categorising them, in this case the most beneficial would be, sound as one group and music as another. Out of both sound and music, sound occurs first, this is inevitable as the scene begins with Peter outside, therefore ambience noises are used (a dog barking) to reflect this. Immediately after this Peter Pertrelli uses his hand and a burning flame, at this exact point a fire sound effect is used to create a sense of realism into manipulating the action of controlling fire. The following piece of sound is actual dialogue used by Noah, “hi uncle Peter, dads making waffles”. At this point Peter relieves his power, where the same sound effect is used however, reversed, to show he is stopping his power where as before he was starting it. As the scene progresses less sounds are used, only for the use of powers. Once more as the camera tracks Gabrielle to the window, the non-diegetic dogs bark and birds’ song is played for the final time. This however is not only done for a sense of realism, it is also done to create an ironic atmosphere, that Peter clearly fears this Gabrielle character but yet, joyful birds singing are used. The final use of sound effects is again when the character use their powers. As Gabrielle hits a trance within his power a descending in pitch ‘whoosh’ is used to once more make it more believable. The second category is music. This is not cued until Noah enters the scene, where a cheerful typically melodic flute is played and crescendos when the scene reaches a commercial break. The scene continues with an all black transition and a new piece of low pitch music and a tribal like ‘gah’ is used. This sets a completely opposite mood from before and also leads the audience to believe this character is not the innocent father from earlier in the scene. This low pitch bass then cuts out and we hear the return of the joyful music, however, this time a long low bow of strings is used along with it. Eventually the characters are out of the company of the young boy and the music changes with this also. As Gabrielle and Peter are talking the mood, changes when we hear how Gabrielle is in a bad state with his powers, the mood is echoed with a gentle minor piano is played over the top; this is a successful technique in creating the desired sad atmosphere. To conclude the scene Gabrielle executes his power, this is mirrored again by the ‘whoosh’ to symbolize immense concentration, not only is this used but an on going crescendo of haunting funeral like strings and wind like noises take place until the scene commences.
Sunday, 9 November 2008
Monday, 20 October 2008
How are sound and music techniques used in this extract of ‘Hollyoaks’?
How are sound and music techniques used in this extract of ‘Hollyoaks’?
In most, if not all, television dramas a scene that aims to set an atmosphere of any kind, happy or sad, needs to consist of music that contributes to this. In this extract of Hollyoaks, the desired mood is a tense and fast pace atmosphere, this is carried out by both when the sound and music is used and where it isn’t. A structured way of describing these techniques is categorising them, in this case the most beneficial would be, sound as one group and music as another.
Immediately in this extract we see Max trying to run, heavily across a leafy floor in the forest, looking for ‘tom’. If we only listened too this clip, we could establish all this information (except the characters name max) this is because of the sounds used. The first technique is the use of amplified sounds. At first this is breathing and heavy footsteps, which gives us the impression that the character is out of, breathe for some reason, (in this case we are led to believe it is because he is looking for a boy, Tom). The second amplified sound is the crunching of the leaves beneath his feet; this is simply used to establish the setting, in a forest. Along side this is the ambient
Noise, used throughout the extract to reinforce that the characters are in a forest, these ambiance sounds are those that would be heard in the woods, birds and trees. Linking the two chosen categories together (sound with music), it is possible to say the sound and music are synchronized to one another as in a number of cases the shouting and sudden trumpets are used in time. This increases, or at first, builds up the tense atmosphere that is felt throughout the scene. Staying with the first group for the time being, the shouting of the name ‘Tom’ is a discrete mode of address as, max shouting his name tells the audience he is looking for Tom without intentionally doing so. A third occurrence of amplified sound is when Max dives into a lake. To exaggerate that he is doing this the splash when he hits the water, and the bubbles when he is in the lake are all made louder, this creates a muffled sound, as the water effect is louder than another at that time.
The second group is music; in this scene the music to start is sudden trumpets, starting off at a slower pace but the increasing when the drama becomes more intense. A technique used in many television dramas is a sound motif. A sound motif is a piece of music or sound that is typically associated with a type of character, in this case when Clare is framed on screen the trumpets are significantly darker as she is our ‘villain’. The motif is introduced not when Clare is firs framed, but when she pulls a certain look with her face, this theme runs throughout the scene. The effects of sound and music are not only useful when they are present, but also when they are not. We see this twice in this extract, firstly when the music cuts out slightly before Max shouts, “Where is he?” (Without a fade), this is to let the characters commence with an exchange of dialogue.
The second occurrence of this is slightly different as it is when the sound effects are cut out and only the music is played, reverting back to the first category, sound, we can identify the build up to this significant change in the scene. First, there is a quick combination of both diegetic and non-diegetic, when we first, hear Tom banging and screaming (non diegetic, then we see the screaming and banging (diegetic) one second after, linked with an eye line match; this sound is again amplified. The second element of the build up towards this dramatic change in the scene is once again the amplified sounds of splashing, and in this case louder more desperate shouting by Max to show his struggle, used to heighten the tension to its fullest amount. When it reaches this peak, all sound effects completely cut out and a new piece of music is introduced, slower and more gentle, the song highlights the movement of Max in the water, this is slow a sense of ‘give up’, however this also creates an ironic atmosphere. The use of a piece of music in a major key initiates a sense of irony among the audiences’ minds.
To conclude, all sound and music techniques used in this extract are used in such a detailed way, any atmosphere that is aimed for can be created, however the sound and music must both be in synchronization with the action in the scene and also with each other, being mixed and cut/faded out when appropriate. All this and more will create a consistent and successful backing track.
In most, if not all, television dramas a scene that aims to set an atmosphere of any kind, happy or sad, needs to consist of music that contributes to this. In this extract of Hollyoaks, the desired mood is a tense and fast pace atmosphere, this is carried out by both when the sound and music is used and where it isn’t. A structured way of describing these techniques is categorising them, in this case the most beneficial would be, sound as one group and music as another.
Immediately in this extract we see Max trying to run, heavily across a leafy floor in the forest, looking for ‘tom’. If we only listened too this clip, we could establish all this information (except the characters name max) this is because of the sounds used. The first technique is the use of amplified sounds. At first this is breathing and heavy footsteps, which gives us the impression that the character is out of, breathe for some reason, (in this case we are led to believe it is because he is looking for a boy, Tom). The second amplified sound is the crunching of the leaves beneath his feet; this is simply used to establish the setting, in a forest. Along side this is the ambient
Noise, used throughout the extract to reinforce that the characters are in a forest, these ambiance sounds are those that would be heard in the woods, birds and trees. Linking the two chosen categories together (sound with music), it is possible to say the sound and music are synchronized to one another as in a number of cases the shouting and sudden trumpets are used in time. This increases, or at first, builds up the tense atmosphere that is felt throughout the scene. Staying with the first group for the time being, the shouting of the name ‘Tom’ is a discrete mode of address as, max shouting his name tells the audience he is looking for Tom without intentionally doing so. A third occurrence of amplified sound is when Max dives into a lake. To exaggerate that he is doing this the splash when he hits the water, and the bubbles when he is in the lake are all made louder, this creates a muffled sound, as the water effect is louder than another at that time.
The second group is music; in this scene the music to start is sudden trumpets, starting off at a slower pace but the increasing when the drama becomes more intense. A technique used in many television dramas is a sound motif. A sound motif is a piece of music or sound that is typically associated with a type of character, in this case when Clare is framed on screen the trumpets are significantly darker as she is our ‘villain’. The motif is introduced not when Clare is firs framed, but when she pulls a certain look with her face, this theme runs throughout the scene. The effects of sound and music are not only useful when they are present, but also when they are not. We see this twice in this extract, firstly when the music cuts out slightly before Max shouts, “Where is he?” (Without a fade), this is to let the characters commence with an exchange of dialogue.
The second occurrence of this is slightly different as it is when the sound effects are cut out and only the music is played, reverting back to the first category, sound, we can identify the build up to this significant change in the scene. First, there is a quick combination of both diegetic and non-diegetic, when we first, hear Tom banging and screaming (non diegetic, then we see the screaming and banging (diegetic) one second after, linked with an eye line match; this sound is again amplified. The second element of the build up towards this dramatic change in the scene is once again the amplified sounds of splashing, and in this case louder more desperate shouting by Max to show his struggle, used to heighten the tension to its fullest amount. When it reaches this peak, all sound effects completely cut out and a new piece of music is introduced, slower and more gentle, the song highlights the movement of Max in the water, this is slow a sense of ‘give up’, however this also creates an ironic atmosphere. The use of a piece of music in a major key initiates a sense of irony among the audiences’ minds.
To conclude, all sound and music techniques used in this extract are used in such a detailed way, any atmosphere that is aimed for can be created, however the sound and music must both be in synchronization with the action in the scene and also with each other, being mixed and cut/faded out when appropriate. All this and more will create a consistent and successful backing track.
Sunday, 12 October 2008
Shameless essay
Shameless series 1, episode 5 (37-41 minutes).
"Explain how (to what effect) camerawork and editing are used in this excerpt."
In this excerpt of Shameless, we studied not only the camera techniques but also the editing. As Shameless is a well-edited piece of TV drama, it was not as easy to point out the editing structures as other dramas.
The excerpt itself was 4:00 minutes long however in this four minutes there was a complex amount of camera techniques, all of which can be grouped into particular categories. The first selection of camera techniques I have grouped are those that see the characters from the audiences point of view (more so than the others), for example the scene itself begins with a long shot of Frank, and follows with the camera Tracking. The use of tracking is the first way the director establishes the character form the audiences’ point of view. Another technique that is used, and can be placed in the same category is the use of when the camera cuts between each character involved in the scene, (after the fight between Frank and his son). This is done to show who, what and why the characters are and doing in this scene. The final characteristic of the camera, in this category is zooming. This occurs in this scene to highlight the importance of ‘Karl’ (in this excerpt), and again is from the audiences’ point of view.
The second category is the camera angles used from the characters point of view; to a certain extent. The first most obvious example of this is when the camera cuts to a point of view shot, of ‘Karl’ whilst he is driving, this shot shows Karl looking at his father ‘Frank’; giving us the impression that there is tension between the character looking, and the character being looked at. The second camera technique that reflects the feeling of the character is when the camera is on a cantered angle. Using this angle, even for just the 2 seconds, gives us as the audience a sense of how the character involved (Frank) is feeling, when he has been knocked to the ground, in this case unsteadiness. Similar techniques, which give the same effect, the point of view of the character, are those such as a ‘worms eye view’. In this excerpt this is used almost as a point of view shot of Frank when he is on the floor, showing the contrast of levels in the actual fight scene. A fish eye lens is also used in this compilation of techniques, to reflect how ‘Karen’ is feeling in this scene (overly stressed) but also to show where she is, hence the use of fish eye to show more of her bedroom.
In this excerpt of Shameless, or any TV drama, the camera angles would not have the same effect if the process of editing did not occur. Shameless is a prime example of ‘good’ editing as whilst deconstructing it, it is hard to notice every cut or transition, it is however possible to identify the obvious and some of the more subtle techniques.
To create a sense of organization among the types of editing, it is possible to apply the same categories to the techniques, point of view of audience and point of view of characters. The first occurrence of a simple piece of editing, a cut, is used in sync with the first camera movement, tracking. The editing takes the tracking to a side view of the car that Karl is driving; this allows cut allows us to see what is taking place, our point of view of the situation. This is the first category, the point of view of the audience. Along with this first cut, the second cut to a reverse zoom of all the characters framed, shows us where all the characters are, in this case out side of ‘Sheila’s’ house. After this scene the setting is in Sheila’s’ house, along with Frank and Karen, in this scene an example of editing is the use of a cut away of Karen, this is used, and can be situated into the same category, as the technique allows us as the audience to see Karen is present. The second category used to distinguish the editing techniques is the point of view of the characters. Shameless achieves this extraordinary well, as when watching an episode or even just an excerpt we are able to feel the same emotion as the characters. A prime example of this occurs directly after the fight scene and just before the next scene; this is the transition between them. The transition is a blurred white fade in, and is used to highlight the unconsciousness of Frank (after just being beaten up). A similar effect is used in the fight scene itself, again a blurred effect however not a transition, it is used more as a cut; this is because we are still in the same scene. It is possible to say the purpose of both of these effects is the same, to highlight the unsteadiness of the character. The final piece of editing that is categorized into this category is an eye-line match. This is used in the second half of the extract when we see Frank look at Karen, then the camera pans across to Karen herself whilst she is static, and again when she exits the scene. This is in this category because we see what the character sees; the characters point of view.
In this excerpt of ‘Shameless’ it is possible to identify many different camera shot types and editing techniques, however without working in unison, both would not be any where near as effective as they are when used together.
"Explain how (to what effect) camerawork and editing are used in this excerpt."
In this excerpt of Shameless, we studied not only the camera techniques but also the editing. As Shameless is a well-edited piece of TV drama, it was not as easy to point out the editing structures as other dramas.
The excerpt itself was 4:00 minutes long however in this four minutes there was a complex amount of camera techniques, all of which can be grouped into particular categories. The first selection of camera techniques I have grouped are those that see the characters from the audiences point of view (more so than the others), for example the scene itself begins with a long shot of Frank, and follows with the camera Tracking. The use of tracking is the first way the director establishes the character form the audiences’ point of view. Another technique that is used, and can be placed in the same category is the use of when the camera cuts between each character involved in the scene, (after the fight between Frank and his son). This is done to show who, what and why the characters are and doing in this scene. The final characteristic of the camera, in this category is zooming. This occurs in this scene to highlight the importance of ‘Karl’ (in this excerpt), and again is from the audiences’ point of view.
The second category is the camera angles used from the characters point of view; to a certain extent. The first most obvious example of this is when the camera cuts to a point of view shot, of ‘Karl’ whilst he is driving, this shot shows Karl looking at his father ‘Frank’; giving us the impression that there is tension between the character looking, and the character being looked at. The second camera technique that reflects the feeling of the character is when the camera is on a cantered angle. Using this angle, even for just the 2 seconds, gives us as the audience a sense of how the character involved (Frank) is feeling, when he has been knocked to the ground, in this case unsteadiness. Similar techniques, which give the same effect, the point of view of the character, are those such as a ‘worms eye view’. In this excerpt this is used almost as a point of view shot of Frank when he is on the floor, showing the contrast of levels in the actual fight scene. A fish eye lens is also used in this compilation of techniques, to reflect how ‘Karen’ is feeling in this scene (overly stressed) but also to show where she is, hence the use of fish eye to show more of her bedroom.
In this excerpt of Shameless, or any TV drama, the camera angles would not have the same effect if the process of editing did not occur. Shameless is a prime example of ‘good’ editing as whilst deconstructing it, it is hard to notice every cut or transition, it is however possible to identify the obvious and some of the more subtle techniques.
To create a sense of organization among the types of editing, it is possible to apply the same categories to the techniques, point of view of audience and point of view of characters. The first occurrence of a simple piece of editing, a cut, is used in sync with the first camera movement, tracking. The editing takes the tracking to a side view of the car that Karl is driving; this allows cut allows us to see what is taking place, our point of view of the situation. This is the first category, the point of view of the audience. Along with this first cut, the second cut to a reverse zoom of all the characters framed, shows us where all the characters are, in this case out side of ‘Sheila’s’ house. After this scene the setting is in Sheila’s’ house, along with Frank and Karen, in this scene an example of editing is the use of a cut away of Karen, this is used, and can be situated into the same category, as the technique allows us as the audience to see Karen is present. The second category used to distinguish the editing techniques is the point of view of the characters. Shameless achieves this extraordinary well, as when watching an episode or even just an excerpt we are able to feel the same emotion as the characters. A prime example of this occurs directly after the fight scene and just before the next scene; this is the transition between them. The transition is a blurred white fade in, and is used to highlight the unconsciousness of Frank (after just being beaten up). A similar effect is used in the fight scene itself, again a blurred effect however not a transition, it is used more as a cut; this is because we are still in the same scene. It is possible to say the purpose of both of these effects is the same, to highlight the unsteadiness of the character. The final piece of editing that is categorized into this category is an eye-line match. This is used in the second half of the extract when we see Frank look at Karen, then the camera pans across to Karen herself whilst she is static, and again when she exits the scene. This is in this category because we see what the character sees; the characters point of view.
In this excerpt of ‘Shameless’ it is possible to identify many different camera shot types and editing techniques, however without working in unison, both would not be any where near as effective as they are when used together.
Monday, 29 September 2008
heroes
Heroes
In this episode of heroes we studied two particular scenes, the ‘casino’ scene and ‘cheerleader’ scene. Both these extracts consisted of techniques resulting in effects that were used for specific purposes.
In the first extract, the camera begins with a tilt that tracks forward, this establishes the setting as the camera, tracks forward passing a roulette wheel, and casino table. As the camera tilts upwards the characters are revealed, with a jump to a close up two shot. Throughout the next 10-15 seconds, the camera jumps from close ups to two shots for a specific reason, this ingenious technique is to portray the characters different attitudes in the scene, e.g. whilst the camera is focusing on one character alone, it is obvious that the chosen character has a certain feeling, in this case concentrated. A second compilation of shots that is used while ‘Hero Nakamura’ is concentrating is as follows: a slow zoom then a quick jump to a close up, framing ‘Hero’ with three quarters of his face inside the shot. These shots are used to highlight the intense concentration carried out bout this character. What follows this set of shots is the effect of what ‘Hero’ does; this is that he stops time.
The next short extract of this scene is portrayed using a special effect this is why the director uses the shots chosen. First he uses panning/tracking to show where ‘Hero’ is and is going to go, this is the tracking. The panning is used simply to highlight the special effect, moving around the casino room.
The second scene we analysed was the ‘cheerleader’ scene. This scene is different as it starts in a different set, where a man is waking up and trying to stand up. The camera being unsteady and pulling in and out of focus shows this precisely. The camera then focuses on a picture of a girl; this picture then fades into the real cheerleader. The next effect I analysed was whilst the cheerleader and a boy are in a car going extremely fast. The camera shows this in many ways, first by cutting through the master shot (an over the shoulder shot of both characters, also revealing they’re in a car) and a series of close ups including the gear sick every time they go up a gear and also a close up of the mph gauge. Also the cuts between each of these are fast, again showing the speed. Another two-second angle is that on top of a traffic light, while the car passes right past it. To end the scene the cheerleader purposely crashes the car, when this happens, the shots reflect the impact of the crash. First the camera is level with the car on the side then the moment it hits the wall the camera jumps behind the car; this fast pace editing reflects the speed and impact of not only the crash but the whole scene.
In this episode of heroes we studied two particular scenes, the ‘casino’ scene and ‘cheerleader’ scene. Both these extracts consisted of techniques resulting in effects that were used for specific purposes.
In the first extract, the camera begins with a tilt that tracks forward, this establishes the setting as the camera, tracks forward passing a roulette wheel, and casino table. As the camera tilts upwards the characters are revealed, with a jump to a close up two shot. Throughout the next 10-15 seconds, the camera jumps from close ups to two shots for a specific reason, this ingenious technique is to portray the characters different attitudes in the scene, e.g. whilst the camera is focusing on one character alone, it is obvious that the chosen character has a certain feeling, in this case concentrated. A second compilation of shots that is used while ‘Hero Nakamura’ is concentrating is as follows: a slow zoom then a quick jump to a close up, framing ‘Hero’ with three quarters of his face inside the shot. These shots are used to highlight the intense concentration carried out bout this character. What follows this set of shots is the effect of what ‘Hero’ does; this is that he stops time.
The next short extract of this scene is portrayed using a special effect this is why the director uses the shots chosen. First he uses panning/tracking to show where ‘Hero’ is and is going to go, this is the tracking. The panning is used simply to highlight the special effect, moving around the casino room.
The second scene we analysed was the ‘cheerleader’ scene. This scene is different as it starts in a different set, where a man is waking up and trying to stand up. The camera being unsteady and pulling in and out of focus shows this precisely. The camera then focuses on a picture of a girl; this picture then fades into the real cheerleader. The next effect I analysed was whilst the cheerleader and a boy are in a car going extremely fast. The camera shows this in many ways, first by cutting through the master shot (an over the shoulder shot of both characters, also revealing they’re in a car) and a series of close ups including the gear sick every time they go up a gear and also a close up of the mph gauge. Also the cuts between each of these are fast, again showing the speed. Another two-second angle is that on top of a traffic light, while the car passes right past it. To end the scene the cheerleader purposely crashes the car, when this happens, the shots reflect the impact of the crash. First the camera is level with the car on the side then the moment it hits the wall the camera jumps behind the car; this fast pace editing reflects the speed and impact of not only the crash but the whole scene.
Tuesday, 23 September 2008
Deconstruction of Coronation Street
Name of drama:
Coronation Street
Coronation Street
ITV
Time of broadcast:
7.30pm
Camera shots, angle, movement
and composition:
- eye level shots
- relating to character
- close up = bad news
match on action, pace etc):
- camera facing phone when rang (close up)= important
- close up on characters face when talking either down the phone or to another character
- slow transitions between scenes including establishing shots
- when characters are talking, ambient noise is quieter than when there is no dialogue
- music from mobile phone is simple and does not effect the atmosphere
- no music
- light, dull (low light = bad atmosphere)
- costume, bright colors (assuming character is gay), women in blazer = sophisticated, scruffy clothes showing characters are working, smart clothes contributing to characters actions (asking a girl on a date)
- props, phone addressing a serious point without the audience knowing what the exact issue is
Wednesday, 17 September 2008
what is TV Drama? (extended)
Examples:
Gritty/satirical
skins
shameless
in-betweenness
All from U.S
desperate housewives
ugly betty
sex and the city
U.S and big budget
heroes
reaper
lost
24
soaps/different
coronation street
Eastenders
Hollyoaks
Emmerdale
comedy/drama
scrubs
Friends
Big Bang Theory
What is TV Drama?
A TV drama is -
stories told through the dialogue.
music that punctuates the action.
easily identifiable sub-genre.
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