HOOK LINE AND SINKER
Using our device of cinematic visual language, there’s a quick way of differentiating our tones and letting the audience in on the joke at the exact time we want them too,
The idea I have is to keep things refined and limited in movement until we finally know what we are in for. After that, we immediately switch to more dynamic camera movement to indicate a shift in subtext. This added movement of the camera also corresponds thematically to the physical exercise of the character.
Really it’s a fancy way of saying in the first part of the spot, think tripod, short pans, slow dolly moves... Then once we know the joke through VO, big sweeping steadicam shots! Perhaps in “Baggage” we start tight on the phone to see the instructor on the app, and then quickly pull backwards with energy to reveal the room, landing at a composition that works for the super.
Same could be said for “The Door” with calculated slow or static shots in slow motion for the “bait” part of the spot in the sandwich shop— only to “switch” into a highly dynamic steadicam shot that starts on our heroes face to reveal the wide of our wonderful gym.
In summary, I want to use the same device in the beginning for the bait, and flip it on its head for the switch!