Children's game shows
Webheads - Nickelodeon
2014-2015
Four contestants compete across three rounds - one contestants leaving the game per round - leading to the final round where the winner plays to win a technology prize.
Fig. 1 YouTube: Carlos Pena-Vega Behind the Scenes on Nickelodeon's Webheads (2014)
Fig. 2 YouTube: Webheads S01E01 Basketball Running Out (Full Episode) (2018)
Fig. 3 YouTube: Webheads S01E01 Basketball Running Out (Full Episode) (2018)
To film these wide shots the same crane is used (see fig. 1). Cranes can move cameras over long distances both vertically and horizontally so can therefore change shots quite drastically at a faster speed than a track or pedestal mount (Foust & Fink and Gross, 2013:98). Therefore, it can help achieve multiple angles, allowing a director to get more coverage (see fig. 2 & 3).
Fig. 4 YouTube: Webheads S01E01 Basketball Running Out (Full Episode) (2018)
Fig. 5 YouTube: Webheads S01E01 Basketball Running Out (Full Episode) (2018)
To also help achieve coverage, two cameras are used to cover the four contestants. Thus, while one camera is focused on the contestant on air, the other can be moving to cover the next one, which can then be put on air (see fig. 4 & 5).It can be said that this coverage is similar to that of sporting events, in that the majority of the space where action will take place is covered by the cameras so as not to miss anything (Boddy, 2008:163). Thus, a sense of "liveness" is created - a sense these events are unfolding as the viewer is watching, and that they cannot therefore be changed or controlled - emphasised by how many games are timed, creating tension (Holmes, 2008:62).
Fig. 6 YouTube: Webheads S01E01 Basketball Running Out (Full Episode) (2018)
During Webheads this first round is not timed by a clock, but tension is still created with time since viewers have to watch the rest of the videos to discover the answers. These are shown full screen, however smaller screens also show the contestants' reactions so the audience are aware who got each question right or wrong (see fig. 6). This helps them follow along easier, and also means less cutting between elements so more can be shown.To cut to the videos in full screen like this, a wide shot where the screen is visible is always shown beforehand so that the audience know what they are watching and how it relates to the rest of the show within the studio environment. The shot of the screen is then mixed with the wide shot showing the screen - (see fig. 3) - which creates a smooth dissolve transition since the shots are so similar (Utterback, 2016:50).
Fig. 7 YouTube: Webheads S01E01 Basketball Running Out (Full Episode) (2018)
A long shot is also used to further show the studio environment to the audience, but also to take advantage of the extra screens (see fig. 7), since these can also help show the videos, even if they are not as close-up and cannot warrant as smooth a transition as the straight on wide shot. However, it does show the contestants in relation to the host as well as the audience.From this, it can be seen that the contestant are all standing in a line on the small circular platform - this could imply that as contestants on the same show they are all unified as they face the same challenges, yet, they stand separately behind different podiums, the separation of which shows the audience that they are in competition (Holmes, 2008:70).
Fig. 8 YouTube: Webheads S01E01 Basketball Running Out (Full Episode) (2018)
The space in which the show takes place is also important in that the contestants are also separated from the host, signifying that his job is different than theirs (see fig. 8) - while contestants compete and can cause unpredictability, the host controls and handles this uncertainty, always moving the games forward but never interfering with the results (Holmes, 2008:70).In general, Webheads uses the studio environment to show screens which will provide smooth transitions to videos, as well as shows the relative positions of the host, contestants and screens effectively using camera coverage.
Challenge game shows
The Crystal Maze - Channel 4
The Crystal Maze is an adult's adventure game show, which features several challenges in different zones. The aim of the game is to collect as many crystals as possible whilst completing challenges within these zones, since these then add more time for contestants to spend collecting tokens in the final game, the Crystal Dome.
Similar to Jungle Run the host acts as the team's guide - known as 'The Maze Master' - except that he physically guides them using a prop shaped like a hand. To guide the audience graphics are used (see fig. 9), although the host also comments on the games in piece to cameras These help the audience feel involved as he shares his opinions directly to them, creating a connection (BBC Academy, 2017).
Nonetheless, the host also directs the contestants, telling them where to stand, and how to position themselves - for example, here on this moving platform, he gets them to arrange themselves in a semi circle, thus they are visible to the cameras which are going to film their close-ups (see fig. 10, 11 & 12).
The relationship between the contestants and the host is focused on, even though the host is an outsider within the team - seen in the wide shots since he hovers in the background giving his opinion while they crowd around the monitors helping their teammate (see fig. 16).
Similar to Jungle Run the host acts as the team's guide - known as 'The Maze Master' - except that he physically guides them using a prop shaped like a hand. To guide the audience graphics are used (see fig. 9), although the host also comments on the games in piece to cameras These help the audience feel involved as he shares his opinions directly to them, creating a connection (BBC Academy, 2017).
Fig. 9 The Crystal Maze (2018)
When first entering the futuristic zone, contestants stand on a moving platform as they talk to the presenter. This helps the audience get to better know the contestants.
Fig. 10 The Crystal Maze (2018)
Fig. 11 The Crystal Maze (2018)
Fig. 12 The Crystal Maze (2018)
However, the contestant chosen to take on the challenge has to move from the platform to the task door, which is behind them down the corridor, and therefore isn't entirely covered by the main wide shot. Yet, the host also helps direct the contestants here, since he uses the hand to guide the contestant to the door, as they are followed by the camera filming the wide shot, which repositions to film the contestant with the host before they enter to start the challenge (see fig. 13 & 14).
Fig. 13 The Crystal Maze (2018)
Fig. 14 The Crystal Maze (2018)
This type of shot is known as a "developing shot" since the movement happens when the camera is "on air" (Singleton-Turner, 2011:41). This shot further develops when the presenter gives another piece to camera on the contestant entering the challenge area and the shot pushes in (see fig. 15).
Fig. 15 The Crystal Maze (2018)
For most of the host's pieces to cameras a medium shot is used. This is because using a wide shot would mean the audience couldn't see his expression, which is essential to helping him connect with the audience, yet a close-up shot wouldn't show enough of his surroundings, alienating him and creating uncertainty of where he is in comparison to the contestants and the rest of this zone (Studio Binder, 2018).The relationship between the contestants and the host is focused on, even though the host is an outsider within the team - seen in the wide shots since he hovers in the background giving his opinion while they crowd around the monitors helping their teammate (see fig. 16).
Fig. 16 The Crystal Maze (2018)
This is the case with most of the challenges, further emphasising that the host's priority is the audience. Therefore his main aim - like a director - is to supervise the team and make sure problems are solved, or go unnoticed by the audience (Owens & Millerson, 2009:384).
Fig. 17 The Crystal Maze (2018)
Fig. 18 The Crystal Maze (2018)
Therefore, the audience almost hear two narratives of the same event - one encouraging and helping the contestant, the other more unbiased and more like that of a news reporter, or sports commentator. This is significant because the contestants are always changing, the host is not. Thus, the audience build up a rapport with the host over time, and begin to believe he knows what he is taking about, as someone with expert knowledge of how the contest works (Scannell, 2000:11).
Fig. 19 The Crystal Maze (2018)
Fig. 20 The Crystal Maze (2018)
Fig. 21 The Crystal Maze (2018)
Fig. 22 The Crystal Maze (2018)
Action is covered by several cameras so that there are plenty of varying shots which can be cut to (see fig. 19, 20, 21 & 22). When directing action like this, it is important to ensure:
"that all the shots and sounds are there to tell the story and that they will all cut together convincingly; and - that the Director does not become carried away by action, trick, or even beautiful shots. Join the shot when you need to and leave it when you need to"
(Singleton-Turner, 2011:396).
The director does this during this challenge by using the main wide to focus on smaller details such as the contestant's feet (see fig. 23).
Fig. 23 The Crystal Maze (2018)
Doing this offers a less detached viewpoint compared to the wide shots, further emphasising the contestant's struggle.Overall, the main aim of the show is to connect with the audience, mainly through the host, but also through getting to know the contestants by the host talking to them, guiding them, and detail shots emphasising their struggle as they compete to win the game.
Quiz game shows
Catchphrase - ITV
Catchphrase involves three contestants watching short animations which give clues to a popular catchphrase which they guess to gain points.
The camera coverage is the same throughout the show, up to the final round, when only one contestant becomes the focus.
Fig. 24 YouTube: Catchphrase Stephen Mulhern Saturday, 1st Oct (2016)
Fig. 25 YouTube: Catchphrase Stephen Mulhern Saturday, 1st Oct (2016)
However, during the rounds leading up to this, the competing contestants are still focused on, mainly through close-up, clean single shots showing each of them (see fig. 24 & 25), which help viewers feel emotion towards them, by holding their attention (StudioBinder, 2019). This is necessary because the show:"offers up protagonists you can feel good about rooting for. It gives those “good people” the chance to win that “life-changing money.” But: only the chance"
(Garber, 2017).
Thus, the contests are used as a way to draw viewers into the show, since the focus on them allows them to become people viewers can care about, invest in, and therefore hope they have a chance to win. The audience are hooked by the chance, because it could or could not happen - viewers must tune in to find out.
Fig. 26 YouTube: Catchphrase Stephen Mulhern Saturday, 1st Oct (2016)
Nonetheless, the host is also used to help draw viewers, in a similar way to how The Crystal Maze uses pieces to camera. The host of Catchphrase speaks directly to the viewers through the camera, often turning to them to comment on the gameplay (see fig. 26).
This way of addressing the audience is known as "the rhetorical mode of viewer engagement" - this furthers the connection of the piece to camera by not only addressing the viewer, but recognising that they are listening and can respond, for example, by laughing at a joke the host has told, thereby attempting to convince individuals they are who is being spoken to, as if they are the only one being addressed by the presenter (Allen, 1992:118-119).
Therefore, the host often uses humour, making jokes about how the contestants are doing with the questions, in order to connect to the audience.
Nonetheless, the most important elements of Catchphrase are the host and contestants since the stakes of the show, as well as the host's mode of address is used to attract viewers.
This way of addressing the audience is known as "the rhetorical mode of viewer engagement" - this furthers the connection of the piece to camera by not only addressing the viewer, but recognising that they are listening and can respond, for example, by laughing at a joke the host has told, thereby attempting to convince individuals they are who is being spoken to, as if they are the only one being addressed by the presenter (Allen, 1992:118-119).
Therefore, the host often uses humour, making jokes about how the contestants are doing with the questions, in order to connect to the audience.
Fig. 27 YouTube: Catchphrase Stephen Mulhern Saturday, 1st Oct (2016)
Fig. 28 YouTube: Catchphrase Stephen Mulhern Saturday, 1st Oct (2016)
Wide shots are used in a similar way to Webheads, since a crane is also used, as well as a camera which films an eye level wide shot (see fig. 27 & 28). The wide shot from the crane provides the transition to the screen through a cut, since it pushes in on the screen slowly before the animation is brought full screen, making the transition less jarring for the audience.Nonetheless, the most important elements of Catchphrase are the host and contestants since the stakes of the show, as well as the host's mode of address is used to attract viewers.
Tropes
- Presenter and contestants used to attract and relate to viewers - both through focus or through a host giving pieces to camera (PTCs)
- Varied coverage - almost like sport events, since action can be unpredictable
- To help with achieving this coverage, cameras get several different shots
- Long shots and wide shots which show all the action are used so there is always something to cut to
- Transitions to screens are made smooth and not jarring by using a move to push in or by using similar shots for a clean mix
Influence on our game show
Since Mission Control fits the game show genre, these shows inspired how we decided to film the games, especially in terms of getting adequate coverage.
For example, similar to the host of Crystal Maze, our presenter guided the contestants around the set, helped by the running to each mission, as well as the lines taped to the floor of the studio which he could use as markers to get them to line up. This was useful for the cameras, as it meant the shots could better be achieved - for example, the contestants were then in the right place for the camera getting close-up shots of them to be able to see both their eyes.
This was vital for the opening sequence as this was when we introduced the contestants to the audience. Single shots were used for this, like in Webheads, to help make clear to the audience who was who, since we also used this segment to give statistics as in Crystal Maze. Giving some background information on the contestants like this was to help the audience better identify with them and thus be encouraged to get involved in the show by rooting for the contestants. Thus holding single shots like this helped audience identification in a similar way to Catchphrase.
To further this audience involvement, we also had our presenter give a piece to camera - like in Crystal Maze and Catchphrase - at the beginning and ending of the show, so they didn't feel detached from the action.
Also for the audience watching at home, similar to the transitions in Webheads, to transition to VT, we tried to show shots of the contestants watching the screen before cutting full screen to VT so that the audience knew what they are watching and why.
Yet, audience involvement was also helped by showing shots from the locked-off camera we had focused on the audience in the studio, as well as being able to hear them reacting the to the VTs while they were rolling. This helped show viewers at home that others just like them also enjoy the show, encouraging them to also react.
Nonetheless, because of the presenter's role as guide, which was different to that of the contestants, I decided to use shots which separated the presenter from the team of contestants to convey this to the audience, as is done in Webheads. Nonetheless, during some games, our presenter helped the contestants, thus, despite framing them in separate shots before some of the games, during game 4 for example, we decided to use a group shot of the contestants and presenter as they worked to complete the game together, and thus a separation would be unnecessary since they have the same goal.
Overall, the most important thing during the games was to get adequate coverage - as shown by Webheads and The Crystal Maze - thus these shows influenced me mostly by allowing me to learn that each camera can get many different shots, not only the ones which are planned, and thus it is more important to focus on what needs to be shot in the moment, when the show is live, rather than sticking exactly to plan, as anything could happen. An example of this was that the group shot in game 4 wasn't planned, but once live we found it was necessary to convey the action and narrative to the audience.
List of illustrations
Figure 1. Carlos Pena-Vega Behind the Scenes on Nickelodeon's Webheads (2014) [YouTube webpage] At: https://www.youtube.com/watch?v=OTIVRHZyqwc&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&index=17 (Accessed on 16 March 2019).
Figure 2 to 8. Webheads S01E01 Basketball Running Out (Full Episode) (2018) [YouTube webpage] At: https://www.youtube.com/watch?v=iY9VttTg4Ds&index=16&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&t=0s (Accessed on 16 March 2019).
Figure 9 to 23. The Crystal Maze (2018) [television programme online] Pres. Ayoade, R. All 4. At: https://www.channel4.com/programmes/the-crystal-maze/on-demand/67919-004 (Accessed on 21 February 2019).
Figure 24 to 28. Catchphrase Stephen Mulhern Saturday, 1st Oct (2016) [YouTube webpage] At: https://www.youtube.com/watch?v=0a3vgEWX_P8&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&index=16 (Accessed on 16 March 2019).
Figure 24 to 28. Catchphrase Stephen Mulhern Saturday, 1st Oct (2016) [YouTube webpage] At: https://www.youtube.com/watch?v=0a3vgEWX_P8&list=PLc9QYgv46S0NwHCLeCksn5n1BsdqP2oDU&index=16 (Accessed on 16 March 2019).
References
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BBC Academy (2017) Tips: directing pieces to camera. At: https://www.bbc.co.uk/academy/en/articles/art20130702112136264 (Accessed on 11 February 2019).
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Foust, J. & Fink, E. and Gross, L. (2013) Video Production: Disciplines and Techniques. (11thed.) Arizona: Holcomb Hathaway.
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Singleton-Turner, R. (2011) Cue & Cut: A Practical Approach to Working in Multi-Camera Studios. Manchester University Press: Manchester.
Studio Binder (2018) The Ultimate Medium Shot Examples to Inspire Your Shot List. At: https://www.studiobinder.com/blog/medium-shot-examples/ (Accessed on 21 February 2019).
Studio Binder (2019) Close-Up Shots: Examples of Camera Movement & Angles. At: https://www.studiobinder.com/blog/close-up-shot/ (Accessed on 2 March 2019).
Utterback, A. (2016) Studio Television Production and Directing: Concepts, Equipment, and Procedures. (2nded.) Oxon: Focal Press.
Scannell, P. (2000) 'For-anyone-as-someone structures' In: Media, Culture & Society. 01.01.00 [online] At: https://journals-sagepub-com.ucreative.idm.oclc.org/doi/pdf/10.1177/016344300022001001 (Accessed on 21 February 2019).
Singleton-Turner, R. (2011) Cue & Cut: A Practical Approach to Working in Multi-Camera Studios. Manchester University Press: Manchester.
Studio Binder (2018) The Ultimate Medium Shot Examples to Inspire Your Shot List. At: https://www.studiobinder.com/blog/medium-shot-examples/ (Accessed on 21 February 2019).
Studio Binder (2019) Close-Up Shots: Examples of Camera Movement & Angles. At: https://www.studiobinder.com/blog/close-up-shot/ (Accessed on 2 March 2019).
Utterback, A. (2016) Studio Television Production and Directing: Concepts, Equipment, and Procedures. (2nded.) Oxon: Focal Press.
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