[MUSIC]. [BLANK_AUDIO]. Hello, before I go in deeper into the television production of the Olympic games, to which we will debout the following mother. Now we are going to talk about some of the aspects of what, what we call the language of television. To speak about the language of television is to acknowledge that television has a specific way to spread sense, to construct narratives, to tell stories. That specific way of creating meaning of stories is constituted by two elements. The moving images and the sound that creates the majority of the language of television was created during the first tech days of the 21st century in the cinema. In the last years of the 1920s, [UNKNOWN] the ways of expressing scenes in the cinema had already been created. [BLANK_AUDIO]. One example of these was the use of different kinds of shot that we will explain in detail afterwards. In fact, there're a number of conventions or ways of expressing sense of it all. The audio visual that were developed over time. For instance, the cinema of the first years of the 20th century was not able to express today's common situation of a person who is looking at something or somebody and to show what he or she is looking at. Many times the primitive cinema showed a theatrical way of expressing scenes using the general shot with the subject, the person, and the object in the same frame. However, with this way of displaying things, many of the spectators were not able to perceive the details. The modern audio visual language solved easily this issue by joining 2 different shots without the montage that is the editing process. Anyway, when television appeared, the cinema had already created its own language and the television inherited it. However, living aside the technological differences between the television and the cinema, the greatest specificity of television is the live. The possibility of live broadcasting of the event. The possibility of hovering the live broadcasting of the sporting events gave television the opportunity to grow as media. A triumph that it achieved in its alliance with the wealth of sports in general and the Olympic Games in particular. From now on, we will see the elements of the television language. The shots, when we record with a television camera or with our smartphone cameras, the first thing we do is to take a shot. When we take a shot, we frame the reality inside the limits of the screen, the first element of the language of television is the act of framing or selecting a part of the reality. When we take a shot, we, when we frame a part of the reality, we select some elements because, because of their interest and we leave other elements out of the frame. In fact, the act of framing is a dynamic act and requires continuous updating. That this precisely the case of sporting television in which a camera operator needs to follow a certain athlete doing his or her race for instance. According to [UNKNOWN], the camera interprets the scene for the audience. How the camera is used affects the audience responses. Whenever a camera is pointed at action, you have to make a series of fundamental decisions such as which is the best angle? Can the action be seen clearly for, from there? Which features of the scenes need to be emphasized at this moment? Do you want the audience to concentrate on a specific aspect of the actions? Every kind of shot has a different purpose. For example, the long shot, used for setting the scene. They have that contextual objective. For instance, in a soccer match, the long shots allow the spectators to know the different positions of the players on the soccer field. The close shots have the capacity to focus the attention of the audience on the details. The close shots can easily convey psychological aspects of one individual, or details of the objects, transmit emotions, or dramatise the event. For example, during the previous seconds to the starting of the 100m race during the Olympics. Close shots can show the concentration of the different athletes. The montage, the final addition of the sporting scene may be a wise combination between long and short shots for fulfilling both spec, spectative needs. The need of a contest, the comprehension of the whole, and the need of focusing on details and particular elements. We are going to see which are the main kinds of shots that are used on television. There're [UNKNOWN] long shot according to Owens and Millerson. The [UNKNOWN] enables you to establish the location and to create an overall atmospheric impression. It could be a high shot from a hilltop, or an aerial view such as from a blimp at a sport venue. At extreme longshot a person could show a lot of background, which is often done to show contest or solitude. With the same long shots, the audience takes a rather [UNKNOWN] impersonal attitude. So being in the scene without any sense of involvement, the extreme long shot is generally wider than the long shot. The long shot, often used at the start of a production. The long shot is immediately, it shows where the action is happening. This establishing shot [UNKNOWN] the location and atmosphere of an event. It allows the audience to follow the proposed pattern of action. The media shot is generally a mid shot. It shows at the same time the emotion and a part of the contest. It is usually used to, for showing the anchor during the TV news program. For example, the close-ups, an extremely powerful shot. The close-up concentrates interest with people, it draws attention to the reactions, responses, and emotions. Close ups can reveal or point out information that might otherwise be overlooked or only concerned with difficulty. Close-up of people are generally framed from meet chest up. Extreme close-up adds drama to the situation or clarifies a situation by filling the screens with the face, it instantly communicates the emotion of the situation. The extreme close-up generally cuts into the face and is a [INAUDIBLE] tool for adding drama by communicating the motion of the moment. [BLANK_AUDIO]. The camera movements. The camera is not a static element of the audio-visual language. It can move too. The camera movements can offer new information to the audience. The more typical camera movements are: panning the camera. The pan shot is the smooth revolving of the camera from left to right of the camera support, which might be a tripod or even a person. Panning shows the audience that partial relationship between two subjects or [UNKNOWN] according to Millerson. Tilting the camera head. Tilting refers to moving the camera up or down. Tilting like panning, allows you to visually connect subject or ideas that are spaced apart. Otherwise you will need to intercount a different shot or use a longer shot to include both subjects, according to Millerson and Owen. We have pointed out the different categories of the audio-visual language. The nouns, verbs, adjectives, which are the different kinds of shots in camera movements. Now we need to join them in order to construct statements. We can join the shot through the montage in order to create meaning. According to the old series of the montage, or editing, by joining two shots, you get a new meaning, different to the meaning that the two shots had separately. By joining two shots or more, you can create a story. In the live sport broadcasting, the montage or editing is live. But many times on television the programs are recorded and then edited before they're broadcasted. Even though a sport live broadcasted many times because they are based on the uncertainty and emotion of the competition. [BLANK_AUDIO]
