Gatorade Commercial Code and Conventions
In order to produce Gatorade commercials, there are a few code and conventions you need to follow to produce it with its typical key points. A few key points are the camera angles/shots, actors, props, theme/setting, sounds, lighting, music, voice over and other editing. First off, common camera angles/shots include the tilt shots, tracking shots, close up angles, low angle, extreme close up angles, and others that focus on an object or person.
In terms of actors, Gatorade is almost always shown to be around athletes. Gatorade is a drink targeted for athletes to boost performance and energize them. The props for the advertisements are of course Gatorade, sometimes ice, sports balls (like basketballs, soccer balls, baseballs, etc.), equipment, and maybe a vending machine also. The main theme/setting for these advertisements are around sports and performance in the sports. The theme is supposed to be like how if you drink Gatorade, your performance is enhanced and you win. In the sports theme, footsteps and thudding are common sounds. Other sounds are usually made with contact with the player and objects when playing a sport. Vocal sounds can be a team chanting, audience cheering, and the coach talking to players.
Lighting is always an important part of advertisements, and for the Gatorade theme, yellow and bright lights are common. These lights come from field or court lights. The music in these commercials have a upbeat and lifting rhythm for the sports theme. Drums are a common instrument to be heard in the music. Voice overs are usually towards the end when they announce Gatorade's slogan, "Gatorade Thirst Quencher" or for specific drinks it goes something along the lines of, "Be Tough", "Bring It", or "No Excuses". It follows a motivational theme. The editing for the commercials puts together different angles of people playing sports or of Gatorade drinks. It is supposed to put focus people or the sport itself, all while pushing the Gatorade drink into the focus as well.
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