'When Outrageous Was Possible' Analysis

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Camera: Wide angle establishing shot panning, tracking shots of the car moving, mounted camera on car multiple angles, extreme long shots with varied focus, shot reverse shot - back and forth to interviewee

Editing: starts with a company ident, italic font but OUTRAGEOUS in bold.

Sound: Narrative voice over, soft, classical music - connoting fragility and rarity of car, sound of the car dominates the mix,

Mise-en-scene: Car presented in high key lighting, soft lighting, warm, very causal setting, in garage, on the road contrasts the extremity of the car.

'When Outrageous was Possible' is another documentary style short film. The film itself starts with a company ident. Yet the main film starts with an establishing shot at a low angle. The shot is tracking the car which is set in a very warm, high key light. Being able to see the car in this showroom condition connotes back to the history of the car and how it would have been presented to customers back when they bought it. Dubbed over the top of this shot, is a mix of voice over and light classical music. The soft music is very much contrapuntal to the shot. Being presented with a car that looks as ferocious as this and then having classical music dubbed over the top can connote to the fragility and rarity of the car. The next few shots relate to the voice over, with shots of the car's door going up mirror what is being said by the narrator. There are a number of medium and long shots which present the car and track and pan round it extremely smoothly. The titles are then introduced with a mixture of fonts. The words 'when' and 'was possible' are in italics (almost a handwritten font) and then 'OUTRAGEOUS' is placed in an overly large, bold font. As the car starts, and it is heard for a second time, the noise dominates the mix, as a number of still long shots present the car driving.
The climate continues to carry on the soft, warm light, as the yellow/orange filter blends with the bright sunlight. the music then changes to slow guitar, connoting that the car is at home on the American roads. The camera is placed inside the cockpit of the car, however, the camera is not still and looks as though it is being hand-held. This shot shows the realism of being inside the car, and just how uncomfortable it is to sit inside a Lamborghini.The film is cut together at a very smooth, constant speed which shows that there is a level of tranquility in the film, and nothing is being rushed.
Throughout the film, there are shot reverse shots going back and forth from the car to the interviewee, which shows his true emotion an passion for his car.
As the narrator goes through a list of what is wrong with the car (a very long list) the music turns sad almost, with some tremolo picking guitar which connotes that the car is almost sorry for having so many flaws.  
One criticism for this film, is the fact that some of the tracking/planning shots are not steady. Although it may not be too noticeable, it contrast to those pans that are extremely smooth. Overall, letting down the rest of the film considering how well it has been produced.