In scene one, here is an extreme close up shot of Senior Love Daddy’s mouth, the top of his microphone, and an analog alarm clock. The microphone is one of the two props in the scene, the microphone and lips (non prop but part of an actual character) can be a sign a voice or a form of communication. The analog clock is the second prop, in the scene; it is making a very loud, irritating, ringing sound. This is done in order to get the viewers attention to the central problems of the film; tension, racism, communication, and conflict without letting time pass by.
Once the alarm stops, we start reframing in, and zooming out slowly, allowing us to see more of the character; Senior Love Daddy and the microphone. The lighting in the room is exceptionally warm with tones of red, orange and gold. The major color motif of the film is heat; associating it with the weather and certain emotions that are being felt or pass on by the characters. As we are zooming out further, Senior Love Daddy says “Waaaake up! Wake up! Wake up! Wake up”. This part of the scene purpose is to get viewers attention to the problems of racism.
The camera, which is in shallow focus and moving back slowly showing that Senior Love Daddy is sitting in a storefront window; allowing us to see more of his character in the film. We can see that Senior Love Daddy is wearing a tropical shirt and a pair of sunglasses which is telling us that it is sometime in the summer months, we can also relate the decade in this shot by the style of the clothing, hair, glasses and accessories. Senior Love Daddy is wearing a brightly colored hat, a bracelet, and an African motif medallion; which are cultural identifiers.
These are all deliberate design choices identifying him on which side he is on; even though he is everyone ones DJ. In the control booth, there is a selection of hats displayed in front of the window pane, these hats represent the African diaspora because there from hot weather countries showing all different aspects of the diaspora where Africans where taken or immigrated too. As the camera steady cranes back, in this shot as the camera continues to pull back we can see that it moves back through the storefront window, in this shot a special effect was use post production to create this type of effect.
Where the glass was inserted in the post production. As the camera slowly cranes up and to the left we can see the full scene and we can see that the building is a brownstone which were painted shades of red and orange to reflect the heat motif and add a visual pop for the eye; without the added color the building would appear to be flat. The brownstones also represent the cultural make up of the multi-ethnic community in the Bedford-Stuyvesant section of Brooklyn. Scenes end with an extreme long shot with deep focus to give us a full view of the end of the street. In addition to a soft-focus lens to give that haze warm hot day effect.