The ad was created by the advertising agency Crispin Porter & Bogusky. In this post, we'll look at the composition, transitions, lighting and color. To start our critique, we’ll examine the composition in the commercial.
Composition
The commercial uses a very effective compositional technique, using strong leading lines to direct the viewer to the action. Almost every composition uses this technique. I’ve highlighted the leading lines to show the efficiency of the framing devices:
The commercial also uses the rule of thirds effectively throughout.
Here we see the rule being used to direct the viewer to the action taking place.
Here, it is used to frame the King.
Transitions
The transitions in this commercial do not call attention to themselves, but they do the job. The transitions are rapid and smooth. The quick cuts help reinforce the action theme of the commercial, and allow a lot of content to be fitted into the commercial.
Lighting
The lighting in the commercial is exceptional. They use a quality lighting scheme to set the mood, and use spots and pools of light to direct the viewers eyes directly where they need to go.
The base lighting style is a fairly common one, similar to ones used in many action movies. It implements backlighting and deep shadows to give a dramatic edge to the picture. It gives the edge, but also keeps it within believable levels. This keeps the focus on the action, not the lighting.
The commercial uses a unique technique to direct the viewers’ attention. Points and pools of light are used to highlight the most important elements in the frame.
Here, the two points of light created by the street lamp sit exactly at the apex of the King’s jump. Our eyes are drawn to these points, and are then forced into the action of the sequence.
This is the best example of this technique. Not only do we have the point of light drawing attention to the King, we have the pool of light working to reinforce our focus.
Both points and pools are used here as well. The fluorescent lights draw our attention strongly to the guards, the most important characters in the frame. The headlight on the motorcycle creates a slightly less important area of focus.
These lighting techniques are used throughout the work brilliantly, switching the focus back and forth from point to point, directing the audience’s attention seamlessly.
Color
The palette of the commercial is a very limited one:
It is dominated by blacks and grays, creating a restricted, industrial feel. The tans are used for highlights, most noticeably on the walls inside, and brown is used for the King’s coat and hair. This palette does not attract attention to itself, with no single color drawing attention to itself. This palette creates the heist/industrial feel that the commercial is aiming for. The next part of the commercial, however, uses a totally different palette.
The cutaway portion of the commercial is selling food, and the colors reflect this. The contrast between the bright colors of the food and the subdued colors of the heist is visually arresting. These bright, warm colors are the colors of food, the colors that want to make us eat. A wiseGeek article on advertising colors elaborates on this:
"Hot colors are some of the best colors for advertising when it comes to products like fast food. Bright red and yellow are hot colors, indicative of fire, and they stimulate excitement. Warm and hot colors will encourage people to eat more, which translates to revenue."
The colors in this commercial work very well, creating the various feels that are needed.
