OLYMPIC SWIMMING

11

CROWD

CHANGING
ROOM

BIRDS
EYE
VIEW

7
1
7

1
5

UNDE
R
WATE
R

1
8

1
3
3

10
SWIMMING POOL

12

16
1

4
5

14

1. The panning birds eye shot displays the swimming pool and parts of the crowd, allowing viewers to become familiar with the arena. Not only are we made aware of our surroundings, we are made
to feel included in the festivities as we are seeing, albeit in a slightly manner, a similar view to those who are in attendance. By viewing the scene from above, we see that we are a part of
something far larger; every person is integral to supporting their country.
2. In a long shot, we see a close up of the water. This demonstrates the length of the pool, alongside it being a background for statistics. This is effective as it keeps the sport in the forefront of our
minds whilst building tension; the depth and length of the pool reiterates how daunting it must be to dive into the water at such a speed.
3. Through a panning motion, the long shot transitions into a mid shot. This documents the swimmers emerging from the changing rooms, enabling the viewer to see the competitors, and who is
representing their country. Additionally, the commentator is able to profile the approaching athlete and introduce the men behind the legends in how the individuals who have accomplished such
admirable feats are presented before us; these are not mythological achievements, but founded in reality.
4. A close up shot of the crowd shows us the supporters who are overly enthusiastic and dedicated to their country. Furthermore, it shows us that although they not be sportsmen, they are still
involved with their team, be it by cheering them on, waving flags/signs or by watching at home. Similarly, it portrays how we can all be united through a singular activity, regardless of our
different nationalities; the emotions transcend geographically defined boundaries-they are all excited, hopeful, filled with anticipation. Through one event, a world has been bought closer together.
5. Through a mid shot we see the swimmer approaching his block. This is integral to heightening the tension and excitement; we know the race is to begin soon and these are the final moments
prior to its start. The use of this angle enables us to obtain a clear look at the swimmers face, and any upper body stretches they partake in. As such, we are granted an insight into their
mentality, and can begin to comprehend how they may feel prior to the race. This increases how personal the footage is due to how it helps us see these men on a more personal level.
6. By using a long shot the length/width of the pool is established and we are able to gauge just how large it is; this is not a size we would necessarily be familiar with or know from a local leisure
centre. Likewise, the magnitude of the arena is highlighted to the viewers. In turn, this allows us to see how popular the activity is and how many people are willing to come to events to support
their teams.
7. A panning shot follows the swimmers out from the changing rooms, following the path that they will take to their starting blocks. This helps create empathy as we are able to understand just how
unsettling it may be to walk from the safety and seclusion of the waiting area and onto the screens of millions of viewers around the globe, alongside a live audience. This then pans onto the
water, displaying the perspective of the athlete. This permits the viewer to see what the sportsmen see before they begin their race, and view how much more sinister the pool looks prior to
diving in at speed.
8. An establishing/long shot of the crowd allows the audience to see the location from a different point of view, whilst also being presented with the reality of how many people are in attendance.
Additionally, we find a new level of respect for the event as we begin to imagine the various parties working together to make it successful; this is, effectively, a conglomeration of work from
hundreds of bodies with one common goal; making the Olympics as good as it can be.
9. There is a relatively close up shot of a swimmer who is seen preparing for his race. This demonstrates that it is not as easy as jumping in the water and swimming; instead, one must prepare
themselves, both physically (in terms of stretching and warming up) and mentally. This angle introduces a dimension that we would not ordinarily envision.
10.A long shot of the pool reiterates the size and intensity of the swim, whilst reminding us that it is soon to begin.
11.A birds eye view from the crowd shows us what the view is like from the stands, at the same time as replicating the feelings of the spectators; we can see what they can see, hence we are
experiencing the same things at the same time.
12/13. Through a close up of the swimmers undertaking their final preparations, we again see that there are a variety of elements that must be considered prior to the start, most regarding the
wellbeing of the athlete, i.e. warm ups etc.
14.
By using a long shot/full body shot of the swimmers descending into the pool we are informed that the race is soon to begin. Where the camera is positioned we are able to see all of the
competitors and
how they vary their final preparations. It also helps the viewer to see where their teams representative is, and how they compare to the others.
15.
An underwater panning shot shows the viewer exactly what happens when the swimmer launches of the blocks. Due to the positioning of the camera, a new dimension is introduced,
exclusive to those watching at home. Very rarely we will be able to see the sport from under the participants, and this enables us to see the strokes being used in detail.
16. A dolly shot is used to track the race and the participants swimming alongside one another. This allows the viewer to have real time details of who is winning, and how the event is proceeding.
17. The birds eye view shows us the swimmers from above, giving us a new view. This also helps us see the strokes in more detail, as well as where certain individuals are in the race.
18. The footage concludes with close up shots the swimmers back in the starting blocks. This is effective as it brings the event full circle; we have returned to where we began, this time with a victor.
It positively ends the show as we are able to see the competitors one last time, and continue our support-even after the race has ended.

STAGE

CROWD

HAVE I GOT NEWS FOR YOU?

1. The establishing shot shows us that the programme is filmed in front of

a live studio audience. Consequently, the reactions of the audience
members are real as well as the conversations/actions of the
panellists; we are experiencing the spontaneity of this largely
unscripted show with those present at the recording. Furthermore, it is
effective in making us feel included in the format as it we see the
studio as a whole, as if we are sat in an balcony seat, prior to us
seeing the discussions in real-time.

2/3/4: The use of mid shots is positive in introducing us to the panellists.

They show us who we are watching, and who we are engaging with for
the duration of the episode. By using this angle, we are made to feel as
though we are interacting with them on a more intimate level-we are face
to face with these individuals, making the situation-and those involvedseem more familiar. Additionally, it reduces the theoretical distance
between the viewer and the studio-whilst watching our devices, we are
directly in front of the cast; we have the best seat in the house waiting to
be viewed at our convenience.

19
STAGE
9, 33, 35,
41

2, 6,
13,1
7 21,
25,
39
10

1
2

1
5

2
0,
2
3

NAPALM DEATH, LIFE

AND LIMB (FROM 46
SECONDS TO JUST

14,
18,
22,
24

CROWD
7

16

1
1

1. A mid shot focuses on the vocalist Barney Greenway introducing the song Life and Limb. This is an effective opening shot as it informs the viewer who will be
(verbally) communicating with them for the duration of the piece. Additionally, it follows him across the stage briefly. This is effective in helping recreate the
feelings of being at the barrier; we are seeing what those at the front are, and are experiencing it for the first time, not unlike the crowd. The simplicity of this
angle juxtaposes the complexity and intensity of the music that is to come; viewers are lulled into a false sense of security in the sense that they will not
anticipate the furious nature and pace of the later camera changes/show.
2. (6, 13,17,) Another mid shot is used, this time the focal point being the drummer and his kit. This begins introducing us to the other members of the band, whilst
reminding us of the importance of the drummer. As opposed to a long shot which would display the individual in his entirety, the mid shot includes a significant
amount in a small space (the musician and his instrument). As such, the lack of empty space, and the apparent compression of the image, makes for the set to
appear far more complex than it may be-in the short time we have to view it, we are left to study the many lines and elements and ponder how they each
intersect one another.
3. A long shot of the crowd displays them moshing and enjoying the set. This is used as an affirming, uniting experience for both the band and their fans; they have
made it to the stage of one of the top metal festivals in the world, and we are there to witness this achievement. Similarly, it shows us the size of this gig, and the
passion possessed by the fans in attendance.
4.

A mid-shot of Barney and the drummer shows how several people must work together to create the desired sound and impact of a piece; ultimately, it displays
the act as being a team effort.

5. (8) Angle 5 is a variation of 4, we see the drummer and Barney from a different perspective. This allows us to see the stage from a different angle, whilst showing
us how consistently the musicians must work.
7. From the back of the crowd, the camera zooms into the audience members moshing and enjoying themselves. This reiterates how many peoples are in
attendance, and how they-from specific angles-look like a sea of people.
9. A long shot into the middle of the audience conveys those in attendance as being a singular body, with a single common interest-in this case, the band.
10. A mid shot of the guitarist playing shows the intricate playing that makes up the songs. Additionally, we are made aware of the pressure, and difficulties, of
playing such complex, fast music live.
11. A close up shot shows an individual holding an empty beer glass. This shows us the audiences enjoyment is not limited to the music-they can drink and have fun
in a separate way entirely.
12. There is a mid shot of the guitarist playing, making us focus on a separate aspect of the music to the vocalist and drummer; our vision and hearing is being
directed to a new point, where we must listen carefully to understand the skill of what he is doing.
14. (18,) A close up shot of Barney is used, with the drummer in the background. This draws our attention back to the centre of the stage, and where the main
communicator lies-the vocalist.
15. A long shot shows one of the guitarists, the drummer, Barney and some the roadies off to the side of the stage. This demonstrates that more goes into a set than
just playing; instruments must be tuned, backdrops/items must be assembled and so on. We are given the opportunity to look beyond the front of the stage, and
see into the wings.
16. A close up on a crowd members personal camera shows us the view from the middle of the audience, replicating the feeling of being in attendance. It shows that
gigs have a degree of intimacy in how each person has their own experience, and emotions. This then zooms out, showing us that no matter how personal the
situation feels, we are not alone, but instead accompanied by hundred more.
19. An over the shoulder shot shows the point of view of the drummer and the sheer size of the stage and the audience. This tells us how daunting it must be to play
in front of such a substantial crowd, whilst helping us understand why musicians enjoy it so much and get such a thrill out of performing.
20. A mid shot focuses on Barney before following him briefly. This introduces movement into the video as we understand that the artist is not static, and does not
remain in one spot for the duration of the spot; they move across the stage and focus on different parts of the audience.