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@elizabethhowiemedia
Question 7 - Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
Question 7 - Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product? Above is the link to my answer to question 7 in the form of a Powerpoint.
(via https://www.youtube.com/watch?v=cJLljsBbiZc) Question 6 - What have you learnt about technologies from the process of constructing this product? Above is a link to my answer to question 6 in the format of a podcast
Question 4 and 5 Main Task Evaluation
Question 4 – Who would be the audience for your media product? We researched into different audiences to find what audience would suit our film genre the best. We considered what audiences psychologically thrillers mostly had, we found that because most thrillers were age rated either a 15 or an 18, so the genre’s target audience tended to be between 15 and 35. We also found that with psychological thrillers there was a very slight female preference to psychological thrillers as they are more focused on the characters and the story line rather than just being gory and scary like horrors or thrillers. Because our brief required our film to have a gender specific target audience, so we decided that our target audience would be females aged between 18 and 30 as we wanted to target a more mature audience and would allow our film to be age rated 18. Through our research on UK Tribes we decided that our target audience would come from the social group of Young Alt, as thrillers aren’t very mainstream generally and especially lower budget thriller are a lot more niche which appeal to the Young Alts. Having completed my final media product I think that our main audience would be our target audience, as I think that we have done a god job of representing social groups in our media product (Question 2), and although our main character is male we focused on appealing to the audience through age range and social group rather than gender as nowadays people especially younger people don’t see gender as binary like it used to be. And for those who do still see gender as binary they may still like the main character as they may be attracted to him. Having said this, I do think that our final piece’s main audience although could cover 18 to 30, it appeals more to those aged up to 28, as stereotypically people who have reached 30 are less likely to dress and have the appearance of a Young Alt like the main character. Question 5 – How did you attract/address your audience? To pique the interest of our audience we first focused on how we would get our audience to relate to the characters, we first thought about the age and gender of our characters, we knew from the beginning that all our characters would be in the same age range as our target audience, we purposefully didn’t specify the age of our character so that the character could relate to all the target audience through age. We were unsure to what gender the main character would be, so we decided to go with a male main character as typically serial killers are male, we stuck to real life facts over relatability of the audience. In making our decision to make our main character male we did consider that although the audience may not relate to the character they may still like the character as they may be attracted to him but also people nowadays don’t see gender as binary and may relate to the character’s age and personality and social group. Because our chosen target audience came from the social group of Young Alt, we decided that we would make the main character part of this social group so he is more relatable to the audience. We used the setting of the woods to represent Young Alts social group, as it is more isolated like Young Alts are from the mainstream groups, the main character is clearly more comfortable in his surrounding environment, whereas the mainstream Alice Becker is unfamiliar and scared in the woods. We also used the costumes of our characters to address our audience. The main character is first shown as wearing casual clothing, brands like converse and vans to relate to our target audience, these brands would appeal to the audiences social group, Young Alts, as they alternative to mainstream but also not completely ‘out there’. The main character’s other costume for the office scene is more formal but still has the hints of not being mainstream, for example the spotted shirt with jeans, in this scene the audience can now see clearly the character’s blue hair and pierced ears, both things that a Young Alt would have, this clearly shows the audience that he is part of their social group. To ensure that the narrative was of interest to our audience, we chose to make the two scenes drastically different from one another yet still very much linked to one another. We thought that the sudden change in setting, lighting and who the character seemed to be, would very much appeal to our target audience as it would throw them off a bit and it isn’t the normal mainstream thing to do, our confusing of the audience that leads to the true being subtly revealed, challenges the audience into really thinking about it. This appeal to our audiences age range as they would appreciate this aspect of our film and it would keep them confused, curious and interested into what will happen next.
Question 3 - What kind of media institution might distribute your media product and why? Above I have attached my answer to question 3 in the form of a PowerPoint
Question 2 - How does your media product represent particular social groups? Above I have attached the link to my answer to question 2 in the format of a PowerPoint
Question 1 - In what ways does your media product use, develop or challenge forms and conventions of real media products? Above I have attached my answer to question 1 in the format of a Prezi
Main Task Completed
Production day 2 Our second day of shooting consisted of shooting in our second woods location at the end of the bottom field at school, we only had around an hour there but were able to complete the shots that we need from there plus a few extras. I think that despite the small time frame we were able to film to a good standard and again we were able to get multiple shot of some of the shots so we can pick and choose when in post-production. We definitely learnt how to work to a very tight time schedule whilst still producing good footage.
Production day 1 Our first day of shooting consisted of all the necessary shots for the office scene. We were able to get all the filming done in around 2 and a half hours, this was good as it meant that we didn’t really have any lighting difference or costume or props errors, which gets rid of the chance for any continuity errors in our final piece. I think we were able to film to a good standard and we were able to get multiple shots of each and we were able to try slight variations which means we will be able to pick and choose our shots rather than being limited by availability. During the time of our first day shooting we learnt that it will take us multiple shots for us to get it mostly right, it’s going to take us multiple tries to not have something mess up.
Above I've attched the link to my shooting script
Storyboard for our main task
Film Distribution Research
This is my research into distribution of films, I used the website http://www.launchingfilms.com/step-step-guide to gain more knowledge on the subject. It is the task of distributors to identify and deliver the largest possible audience for every film. Tailor-made, audience-focused distribution is vital to the prospects of individual films, and to the industry, whatever the medium or format in question. Digital has remodelled the ways in which films are released, promoted and consumed, and it is reshaping the kind of entertainment centre that a modern cinema can be. Distribution is the highly competitive business of launching and sustaining films in the market place. The distributor's job is to bring each one to market by: • identifying its audience • considering why they'd go and see it • estimating the revenue potential across all the formats of its release • persuading exhibitors (cinema operators) to play the film • developing plans and partnerships to build awareness of and interest in the film • aiming to convert as much interest as possible into cinema visits The UK has six major distributors (directly affiliated to the Hollywood studios) and many independent (unaffiliated) distributors who tend to handle films made outside the major studios. UK distributors acquire the films they release from one or more of various sources: • a third-party sales agent, acting on behalf of a producer • a continuous flow of new content from a parent studio • a studio or production company with whom the distributor has negotiated an output deal covering a slate of titles • a single title acquired at any stage before, during or after production When considering acquiring a new film, distributors will look for distinguishing features that may help sell it to audiences. Distributors recognise the importance of local product. British audiences naturally warm to good quality British films, Irish audiences to Irish stories etc. A film's marketability (how it can be promoted to its particular audience) and playability (how it actually performs in the market place) are not necessarily the same thing. Distributors will consider who is the target audience – who does the film 'speak to' most of all, and then who else might be attracted? Do the story, characters and situation grip the intended audience? Does the film 'deliver' and justify the costs of a theatrical release? A distributor's opinion on a film's marketability may, and really should, be sought even before it goes into production. Generally it's preferable for a distribution deal to be in place before principal photography begins. The larger the production budget, the more likely a film is to have a distributor signed up before all its financing is confirmed. In practice, producers tend to seek finance from multiple sources, including: • pre-sales to distributors in various territories via a specialist sales agent • bank loans (subject to prevailing economic conditions) • institutional investors • private individuals • beneficial tax schemes • public subsidies Distributors sign a formal contract with the producer, sales agent or studio, specifying the rights they hold in respect of the title. These normally include the right to release it in UK cinemas and promote it in all media before and during its release. Planning starts as soon as the signatures are dry on the paper and a title hits the slate. A distribution plan needs to be prepared. The distributor will develop this in consultation with the producers and/or studio as appropriate. The most important strategic decisions a distributor makes are when and how to release a film in order to optimise its chances. Through a combination of market knowledge, commercial experience, statistical research and professional judgement, distributors gauge the audience for each film. Who is the film for? Who can be convinced to buy a cinema ticket to see it and why should they do so? Can the film be positioned within a popular, recognisable genre? What sort of audiences have similar films attracted recently? When were they released? How strong is the cast? When distributors have estimated what a film may earn, they prepare a budget to release it. As with every business plan, the goal is to recoup the costs and turn a profit. But launching films is expensive and risky – audiences have so many other choices – and in reality, most films do not make a profit from their theatrical runs alone. Final distribution plans can often be confirmed only when the finished film is available to view. As early as possible, the distributor views the finished film and confirms the release plan. UK distributors, who generally pay all the release costs including marketing and making prints, draw up a detailed budget covering both the launch and sustaining of the film post-release. The investment and projected returns can be reassessed subject to commercial performance week by week. Budgets are estimated in advance. Total UK distribution expenditure can vary from some thousands of pounds up to £4m–£5m per film. Worldwide, a film that cost $100–200m to produce can cost a further $100m+ to release – and all this is committed before any income materialises.
Prop/Costume  list
For the forest murder scene we will need: Props: -An axe -Gloves -Fake blood Costumes: For the killer: - Black hoodie - Dark coat - Black jeans - Walking boots or vans For the victim: - Grey top/jumper - Jeans - Converse - Hair is down For the office scene: Props: - A laptop/computor - A messenger bag - Notepad - Pen - A phone - A camera Costumes: For the killer: - White shirt - Black tie - Black jeans - Vans For the boss: - Black trousers - Black shoes - White or pink shirt - Hair half up and half down For the crime scene: For the killer: - Same costume as the office
This is our risk assessment for our filming
Props and costumes list for The Reporter
Attached is my props and costumes list for my main task 'The Reporter'
Our Pitch Doing our pitch was helpful as it made us think more about the practicalities of how we are going to create our main task, for example thinking about the best place for us to film the murder scene in the forest and suitable office locations. It was also useful for making us realise the risks involved in shooting.
These our are chosen locations for shooting, and why we chose them