December 8, 2009 § Leave a comment
In the majority of the Ipod commercials- there isn’t much texture. There were only a couple that incorporated textured backgrounds and layered elements- the texture did work and added to the campaign.
The texture adds:
- dimension to the video as a whole and the individual blacked out
- tonal value (color) to the video
- more movement to the video
From the actual “pitcher” perspective:
There isn’t a whole lot of texture involved in our pitch…which is the purpose. For this pitch to be set apart from others, we should black out there bodies and just show there outline, getting rid of their “texture”. This way you pay more attention to the vibrance of the background and the movement, rather than what the people look like. The absence of texture will put more emphasis on the ipod itself, and the “brightness” it brings to music/listening to music.
November 16, 2009 § Leave a comment
Composition works throughout this whole film, starting with the opening scene. The scene shows the planes in a line, the towers, the runway, the parking lot; all of these elements composed to compositionally direct you back into the image. This almost fading off feeling- the parking lot is closer depth of field wise, and its darker so you continue to peer further into the photo where the planes and runway, much lighter than the parking lot, move further away, leading you in. Along with the use of this leading line, shape, and positive and negative space, they have this consistent plane rumble going on while this almost demonic sounding choir adds to the noise. Right away, the value of the image increases and becomes more alive I guess you could say.
The next scene(s) that compositionally caught me was the montage of people walking on the streets. The compositional element that was used here was positive and negative space. The subjects would be dressed in black and the scene around them would be almost blown out in white, or vice versa, giving severe contrast to the image. This gave an almost eerie feel to the movie because your eye never really got to settle on anything, it was moving from positive space back to negative space, switching it on you.
Compositional movement is really affected once you move down into the “tunnels”. The angle of light on these images, are all low-key, redirecting you to feel like you are in a dark space, in this case, a tunnel. Value and shape work together to get these dark, only face lit images. This really increases the eerie, dark feel to this movie. Shadows fall sharply on the subject’s faces with the use of positive and negative space. And to create the, life is dark in the tunnels feel, a lot of the time the subjects are lit right above so their eyes are blacked out and their faces appear to be really gaunt looking.
This dark imagery contrasts the man’s dream or whatever it is, because what he sees has lit backgrounds, a combination of high and low contrast, whole faces are lit up, and light comes from different directions. The difference of his dreams and where he really is at affects compositional movement and how it changes the viewer’s perspective of where the movie is at.
Throughout the film I think line, shape, and value worked really well to create the scenes. Line was implied throughout this movie. Like with the beginning scene, the way the subjects (planes, towers, runway) is positioned, it’s implied that these objects continue, the runway keeps going, there are things beyond the towers. When the man and his lady are walking through, I think, the zoo, there is light coming from a box shape, which we infer is a window, which implies that they are further into the building than if it were just black. Shape helps by connecting the lines to make the window, to make the horizon, to make a building. It gives us a 2D shape/outline to look at. Value then is put into the window to create the look of the subject further into the building by using contrast, light and dark. This is also used to differentiate the man and the lady. He has dark hair, she has light, he wears white, she wears black, it constantly switches so they appear different.
Was there a key element that I thought was missing? At first I thought it was form because even though the images had tonal value, dark and light wise, I felt that they were still somewhat flat, that they didn’t move all the way around. But then I went back through my notes and saw how I had mentioned how when the man was laying on the chair, the contrast of light and dark on him, makes him appear 3D, I kind of decided against it. I’m still a bit on the fence of whether there is something missing or there isn’t.
November 3, 2009 § Leave a comment
This image represents line really well starting with the sand dunes in the background. They meet together in a squiggely line at the top, cutting the shadow and the highlight of the sun (line defined by light). The actor being photographed emulates a line with his body falling (implied line). And the way the dunes just fade off implies a continuing line, ie: the mountains in the back.
To start, Will Farell’s whole body represents shape (all lines meeting). The lines on the table crisscross and meet- defining the shape of the table. There are also lots of geometric shapes: the table, his paddle, his elbow slanting into a triangle, his oval head. The shapes all seem to be flat.
Form is represented strongly throuhg the tonal value in the shapes. There is definite + and – space: the white/highlighted portions of this picture, his left side, are the – spaces, and the defined black portions, right side and his face, are the + spaces. The shapes also look like they have weight to them, that he is 3d- he goes all the way around, that the splash is going to make an impact. I think it really helps that this picture is in black and white because without it, I don’t think there would be as much tonal value difference.
October 29, 2009 § Leave a comment
Campaign happens. Volkswagon happens. Sales happen. Safe happens.
October 4, 2009 § Leave a comment
Hey group: my media is a Dove beauty ad I found on youtube. Let me know what you think-
October 1, 2009 § 1 Comment
“Maybe she’s born with it…maybe its Maybelline.”
This message was/is found in a/any fashion/”girl” magazine. Why would it be here? Because advertisers are smart and women/girls aren’t. Not really, they just gravitate towards looking so beautiful, that they’ll take this line: “Maybe she’s born with it…maybe its Maybelline,” and be so persuaded by it/the image, that they’ll go buy Maybelline vibrating mascara right then, to bring out their “natural beauty”.
So, the message:
- Maybelline will bring out your natural beauty
Why is it in the magazine:
- You’re advertising directly to your target audience
Who is your target audience:
- women and young girls (anyone indulging in the magazine)
The method of persuasion:
- Association: because they (Maybelline) are taking a product, makeup, and using it to attract their audience to natural beauty, which they find ideal. Maybelline doesn’t right out say, “yes you’ll be naturally beautiful,” but they incinuate this through their message.