Thursday, 20 December 2012

Both: Our Documentary Questionnaire

We have created a questionnaire for our documentary.  A sample questionnaire has been uploaded below.


Questionnaire
For all questions, please state why you chose your answer.

Did the hosts keep you interested the whole way through?

…............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................

How was the audio? Was the narration always clear?

…............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................

What did you think of the title sequence?

…....................................................................................................................................................................................................................................................................................................................................................................

Did you find the on-screen graphics suitable or distracting?

…....................................................................................................................................................................................................................................................................................................................................................................

Do you feel that the file footage used was appropriate to a gaming documentary?

…............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................

Were the backing tracks suitable for the documentary in general?

…....................................................................................................................................................................................................................................................................................................................................................................
Did the interview segment hold your interest?

…....................................................................................................................................................................................................................................................................................................................................................................

Were there any parts or segments of the documentary that you found distracting?

…............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................

On a scale of 1 to 5 (with 1 being “abysmal” and 5 being “fantastic”), what would you score our documentary? (Ring around your answer)

1 2 3 4 5

…....................................................................................................................................................................................................................................................................................................................................................................

Is there anything you would have liked us to have added to our documentary?

…....................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................

Both: Final Cut Of Documentary


This is the final cut of our documentary.  The upload here on this blog has been mixed-down and reduced in quality to actually get it to upload.  The version that you will receive on disc to mark will be of far better quality.

Tuesday, 4 December 2012

Both: Film Schedules and Storyboards

During the filming of our project, we have been creating storyboards so that we are able to point out what we want the actors to be physically doing during the recording. We have also been planning the schedules so we are able to identify who is needed for which sections of the filming, what they are required to wear and where it would take place. We have scanned examples of us conducting these:

Example of one of the storyboards produced for paragraphs 5,6 and 7 of the script:
Example of one of the film schedule's produced for the filming of paragraph's 6 & 7 from the script:

Thursday, 29 November 2012

Both: Rough Cut Of Our Documentary, Version 1.0


Callum: Script - Final Draft

After having grossly overestimated the amount of script needed to fill five minutes, as well as battling some tone issues, various re-writes led us to our final shooting script.  You will find the complete shooting script below.


1: Women. They’re strange, difficult to understand creatures. They have feelings and thoughts, but said feelings and thoughts consist almost solely of “shoes” and “boys” and, occasionally, “sex”. They look pretty, taunt us with how pretty they are and spray stingy liquid in our eyes when we get too close. Their only purpose in life: to make sandwiches and babies. Outside of that, they’re nothing. Toys to be played with. Helpless creatures with no real thoughts of their own, right?

2: (reads this paragraph whilst being poked by a ruler) Wrong. Women are strong, women are powerful, women are, in many ways, superior to their male counterparts. And, if not superior, then equal in most every way. We are not weak, we are not emotional time-bombs, and we are certainly not useless toys that men can play with. Stop that.

This is something that movies and TV are working hard to fix. In the last decade, tens, dozens, maybe even near the hundreds of strong female characters have popped up. Characters who do more than just stand around being eye candy, getting kidnapped and talking about periods. Characters who, if you get engrossed enough, can feel like real human beings.

Videogames, however, are still stuck three decades in the past.

Title Sequence (34 seconds)

2: Pop quiz! Who is the first female character in a videogame? Time's up. If you answered Ms. Thunder Thighs here (picture of Chun Li), (comical buzzing sound) you are wrong. And if you answered Ms. Wakka Wakka (picture of Ms. Pac Man), (comical buzzing sound) you are also wrong. No, the first recorded instance of a female protagonist in a videogame, a playable female protagonist in a videogame, is Ladybug.

1: Ladybug is a long forgotten 1981 arcade game that managed to pre-date Ms. Pac Man by a couple of months but had a lot in common with Ms. Puck Face by being a maze game. Maze games back then being like FPS' today. Ms. Pac Man and Lady Bug were strong female characters, even if one of them is technically an insect rather than a recognisable lady, pixels back then not being what they are today. So, why are they strong?

Well, they both instigate the plot, they both do their own thing and they both don't have their entire lives revolve around or be ruined by men. They let nothing stand in their way, they aren't slaves to their emotions and, unless you look at some horrible, drudgery corner of the Internet, they don't get their kit off for no reason. They are both strong female characters.

2: And, in fact, it'd probably be very fair to say that they are the only truly strong female characters in videogames, alongside Chell, GlaDOS, Alyx Vance and, of course, Commander Shepard. But that still only means that I can count the number of truly strong female characters on 1 hand and an extra thumb. In addition, three of those are from Valve games, two are from games with little to no story and one is part of a character creation suite where the default option is a male. That's bad.

So, this begs the question of, “Why?” Why are women so poorly treated in videogames and yet you can turn around and see 900 examples of big burly men who are always in control of the situation and know what they are doing and are never the victims of a horribly misguided rape scene? Well, there are three main reasons. Poor story writing in general, cultural differences and a misaimed target market.

Interview Segment (40 Seconds)

Tuesday, 20 November 2012

Both: Problem Encountered and Resolved: The Interview

Our original plan for the interview was to contact somebody through the gaming industry for an interview about their views on women and sexism in gaming, as we felt they would have a better insight than others we asked. However, we recently discovered that due to a mixture of bad hardware, software and some appauling internet connection, the interview we recorded with our interviewee using Skype was not successful, as the final result was barely audible with only certain parts being understandable.

Here is the Skype call we recorded, as an example of how poor the quality was based on the sound coming from the call.

To respond to this issue, we will e-mail the questions to the intended interviewee, get a response from him, then script the answers and request an actor as a stand-in to publish the answers.

Thursday, 15 November 2012

Both: Response to the Brief


In order to meet the brief, we will need to
1. Film the 5 minute extract of the documentary required for the set task
2. Construct a double page spread for a listings magazine
3. Construct a newspaper advertisement.



Thursday, 8 November 2012

Both: Organisation Of Actors, Props, Locations, Etc.

Costumes
Casual (laidback looking for the Target Audience) but not messy (which just looks unprofessional).
Plain jeans (colour is not important, gives the impression of trying too hard to the TA and we're not making a fashion show, after all)
T-shirt, if it has logos then it must be relevant to the subject ("nerd" stuff; e.g. Rock Band logo).
Shoes, not formal (again, to fit the TA).

Props
Chair (for sitting on during the home segments)
Ruler/Stick/Pole (for pocking Amber with)
Relevant game (for tossing away later)
TV (to show game footage on, most likely in post-production)

Locations
SF4 & SF6 at Sir John Nelthorpe College (for "studio" segments)
Mat's house (interview segment)

Actors
Kyran Lowe - Male Host
Amber Rickell - Female Host
Mat Paget - Interviewee

Both: Final Ideas for Filming

So we are able to stick as close to the 5-minute extract restriction as possible. We will be filming the first nine paragraphs of the intended script. We decided this because we needed to identify a good cut-off point rather than leave the extract mid-point. Seeing as though our tenth paragraph was the start of a new section-topic in the documentary, we decided to end filming before then to reflect this.

All the paragraphs will be filmed, however, all but 3 paragraphs (paragraphs 1, 2 and 9) will be re-recorded in a booked recorded studio. This is because we intend to implement file footage also into the documentary, and the quality of the voice may not be strong enough to understand/hear. Recording the voice a second time will give us the option to compare them and identify which would be more suitable to use in the background.

Since our initial ideas, we decided we would be better off using various locations rather than the same two rooms throughout the documentary extract. We therefore decided to make use of only SF4 for the opening few paragraphs, then switching to a confined computer room for the discussion on maze games. The interview segment (after planning went askew from the originally intended plan) will use a pre-booked office in a quite corner of the school to avoid as much disturbance as possible. The remaining sections will more than likely to be filmed in outside rooms, again allowing minimal disruptions.

We will be using Skype as the method of getting the interview with Mat Paget. However, should the software fail to meet requirements/expectations in terms of quality, we will be asking our interviewee to send his response in a text format, so we can record them using a new actor, allowing the plans for other sections of the documentary to continue as scheduled.

For our props, we have decided to reject the idea of throwing a relevant game in the bin and using a television to demonstrate the actors playing games. In replacement of the removal of the TV's, we will be using computers to project gaming footage available through the Internet to provide extra strength to the points the actors are trying to put across to the target audience.

Both: Survey Example

Below are a collection of images that form our complete two-part survey.





Callum: Script - First Draft

This is the completed first draft of our script for the 5 minute extract.  This WILL be updated, edited and changed in parts.  It is NOT the final shooting script.



1: Women. They’re strange, difficult to understand creatures. They have feelings and thoughts, but said feelings and thoughts consist almost solely of “shoes” and “boys” and, occasionally, “sex”. They look pretty, taunt us with how pretty they are and spray stingy liquid in our eyes when we get too close. Their only purpose in life: to make sandwiches and babies. Outside of that, they’re nothing. Toys to be played with. Helpless creatures with no real thoughts of their own, right?

2: Wrong. Women are strong, women are powerful, women are, in many ways, superior to their male counterparts. And, if not superior, then equal in most every way. We are not weak, we are not emotional time-bombs, and we are certainly not useless toys that men can play with. Stop that.

This is something that movies and TV are working hard to fix. In the last decade, tens, dozens, maybe even near the hundreds of strong female characters have popped up. Characters who do more than just stand around being eye candy, getting kidnapped and talking about periods. Characters who, if you get engrossed enough, can feel like real human beings.

Videogames, however, are still stuck three decades in the past.

Title Sequence (9 seconds)

2: Pop quiz! Who is the first female character in a videogame? Time's up. If you answered Ms. Thunder Thighs here (picture of Chun Li), (comical buzzing sound) you are wrong. And if you answered Ms. Wakka Wakka (picture of Ms. Pac Man), (comical buzzing sound) you are also wrong. No, the first recorded instance of a female protagonist in a videogame, a playable female protagonist in a videogame, is Ladybug.

1: Ladybug is a long forgotten 1981 arcade game that managed to pre-date Ms. Pac Man by a couple of months but had a lot in common with Ms. Puck Face by being a maze game. Maze games back then being like FPS' today. Ms. Pac Man and Lady Bug were strong female characters, even if one of them is technically an insect rather than a recognisable lady, pixels back then not being what they are today. So, why are they strong?

Well, they both instigate the plot, they both do their own thing and they both don't have their entire lives revolve around or be ruined by men. They let nothing stand in their way, they aren't slaves to their emotions and, unless you look at some horrible, drudgery corner of the Internet, they don't get their kit off for no reason. They are both strong female characters.

2: And, in fact, it'd probably be very fair to say that they are the only truly strong female characters in videogames, alongside Chell, GlaDOS, Alyx Vance and, of course, Commander Shepard. But that still only means that I can count the number of truly strong female characters on 1 hand and an extra thumb. In addition, three of those are from Valve games, two are from games with little to no story and one is part of a character creation suite where the default option is a male. That's bad.

So, this begs the question of, “Why?” Why are women so poorly treated in videogames and yet you can turn around and see 900 examples of big burly men who are always in control of the situation and know what they are doing and are never the victims of a horribly misguided rape scene? Well, there are three main reasons. Poor story writing in general, cultural differences and a misaimed target market.

Interview Segment (40 Seconds)

1: Bad videogame writing usually stems from an over-reliance on stereotypes and cliches; the things that the industry grew up with, essentially. Damsels in distress, unflappable white heroes, minorities and foreigners either being helpers or just plain evil. Some games have moved past such outdated things, but most haven't and that's precisely why you can fit most every female character into one of three generic archetypes.

First, there's The Girl. There's pretty much nothing more to her personality, she's just The Girl. She's usually on the team purely to tick a box on the diversity checklist though sometimes she may get some semblance of a personality. Don't hold your breath, though, for any groundbreaking characterisation as it pretty much amounts to...

Model 1: Let's do the mission, guys.

1: Or...

Model 1: I totally want to have sexual relations with you, player character.

2: But the important thing is that the developer tried, right? That's pretty much the attitude of the developer too. And, since the character is pretty much just a blank slate, you can also expect them to be sexualised in some way, shape or form. Either their power armour has a lack of sleeves, they prefer tight fitting tank tops to actual armour or they star in a fantasy RPG; but you better believe that they will be sexualised the hell out of.

Cut-off Point.

There is more to the script, in case we get through all of this script long before the 5 minute mark.

Tuesday, 6 November 2012

Callum: Survey Analysis Results & Changes To Our Initial Ideas

So, after the failure of the first survey, we got re-posted it on another site and, one week later, we got some results that we could access and, more importantly, analyse.

Q1] How old are you?

We allowed our survey participants to enter their full age rather than select from a pre-determined set of groups as it made the participant feel like we wanted to hear their full opinions rather than leading them towards what we want them to choose.  The results gave us an overwhelming majority in the 15 to 23 group, with the most common answer being "18".  This means that we must tailor our programme to that age range, seeing as most of our audience is rather young.



Q2] What gender are you?

Here we locked the answers to "Male" or "Female" to ensure that no-one put down any stupid responses.  Again, we had an overwhelming response for one option, this one male.  At this stage, then, we'll want to make the show more appealing towards men, seeing as our potential audience is pretty much 4/5 men.

Q3] Have you ever watched a documentary (if no, please skip to Q10)?

A 100% yes response here, useful for the fact that it doesn't narrow down our potential target audience at all.

Q4] What genre of documentary do you typically watch?

We left this as an open question as we believed that it would allow users to specify exactly what they watch and that, as a result, we would not inadvertently exclude any of their genres.  Plus, if we were to use technical terms like "participatory" then we may have confused the responder by utilising terms that they may not have understood.

Anyways, the most frequent response was Nature documentary with the next most frequent being Historical documentary.  Nature documentaries often use lots of passive techniques, frequently filming for hours at a time hoping to capture something interesting naturally whilst a voiceover fills in the narrative and facts as it goes along.  This... is not really possible for our documentary subject so we cannot bring those techniques over for our documentary.  Historical documentaries, however, are very presenter led and combine lots of file footage with interviews with experts and sections where the host talks to the camera.  These techniques we can use in our documentary if we so choose...

Q5] Do you watch documentaries when they originally premiere on TV, record them to watch later on or both?


Here we got a nice variety of answers.  By far and away, the most picked option was "Both" with "Record To Watch Later" next and "Watch When They Originally Premiere" close behind that.  Seeing as "Watching Live" is the least chosen response, we may wish to stay away from channels and organisations with adverts.  DVRs allow viewers to simply skip the adverts and if more of our audience is saving a program to watch later instead of watching it live, it's far more likely to cost us advertisers and, thusly, our budget from the channel/institution that's funding us.

Q6] If you watch them live, what time do you usually watch them?

By leaving our answer option as "open", we have slightly muddled the average responses, seeing as many people found plenty of different ways to say much the same thing.  Of our 12 answers (one of our survey responders chose to skip the question), all but one responded with a time-frame in the evening.  The person who did not give an evening time simply responded "Whenever they're on".  But, as for the evening responses, 8 PM was the most frequent.  Consequently, we should tailor our content to be pre-watershed; no swearing and no extreme or brutal violence.

Q7] What channel(s) do you usually watch documentaries on?

Again, we left our answer option as "open" but this was to accommodate any American responders.  They don't have most of our channels, like ITV1 or Channel 4, so this way they too can still answer and not feel like they have to skip out (plus, this gives us the chance to figure out foreign distribution angles, if we wished).  Nevertheless, most responders were British as evidenced by the overwhelming responses for the BBC.  Some also mentioned Channel 4, giving us an alternative channel if the BBC should fall through, but we should focus on getting this doc distributed by the BBC as people are most likely to watch it on one of their channels.  In addition, the BBC doesn't have adverts, tying back into the results of Question 5.

Q8] If you don't watch documentaries when they premiere, what catch-up do you use to view them?

This is, essentially, an extension of question 7.  Again, by leaving the answer option as "open" we were able to accommodate all answers from all parties.  The most common answer type involved online catch-up services such as BBC iPlayer and 4oD, further cementing our choice of channels from Question 7.  A couple of answers noted DVDs and, subsequently, Disc Rental Services.  We could look at trying to get our documentary onto home video formats once the whole process is done; Documentary DVDs make good business, after all.

Q9] Would you be willing to watch a documentary that focusses on videogames?

A simple yes/no question resulted in a 100% "yes" response.  This proves that there is a market for our documentary series and we can use this data to convince networks and institutions to give us the funding required for our documentary.

For the second part of the survey, we got 11 responders; two less than the first part.  This can likely be attributed to both the end of the first survey not containing an immediate link to the second survey (meaning that some people will have gotten the impression that the survey was over) or the fact that the questions of the second survey were almost entirely about videogames (thus causing it to be redundant to people who don't play videogames).

These questions are mainly to get a sense of what people believe about games and the target of this installment in our documentary series, women in games.  For the most part, these are not going to affect the tone, style etc. of our documentary.  They may be used to for facts and figures in the actual piece, but it's most likely that they'll simply be used to gain a sense of what our audience is like.

Q1] How often (if at all) do you play videogames?

By leaving the answer option "open" we allowed our responders to be specific in their answers; getting a good feel for exactly how often they play games.  The majority of responses indicate daily gaming, with just one saying that they don't play them at all, although a lot of our survey participants were unsure with just how long they play games for.  Many answers have question marks next to them.  Regardless, this means that most of our target audience will be insanely knowledgeable about games, so we definitely need to ensure that our facts are straight.

Q2] What genre of videogames do you usually play?

We also left this answer option open, though on reflection it would have been easier to make it a simple multi-choice answer.  As such, it makes rounding up answers into categories, easily definable and number-crunchable categories a bit of a pain.  Regardless, the most popular ones are First Person Shooter and Action Adventure games.  This could be because they are the most prolific genres, combined they make up pretty much 3/5 of games released each year, or it may be that our audience just really likes those games.  Either way, they do provide a good pool for our file footage for the documentary.

Q3] If you play videogames, how many feature female protagonists (main characters)?

Again, this answer option was left "open", but this was due to the possible responses having to be really vague (some, most, etc.) otherwise.  Most answers were of the "1 or 2" variety, and a pair of responders gave specific examples (one noting, "Gears Of War 3 (Anya Stroud) and Resident Evil" and the other one putting, "Lara Croft only main one I can think of off the top of my head").  Again, this is good factual information that we can put into our documentary whilst putting our own personal spin on it.

Q4] What's the first thing that comes to mind when "videogames" and "women" are used in the same sentence?

Another "open" answer.  Of our answers, the words that most commonly cropped up were "damsel", "distress", "Tomb Raider" and "Lara Croft".  Outside of that, sentiments remain the same.  Sexism, voyerism, "pixel pin-ups"... it seems that our audience is knowledgable about the problems facing depictions of women in games today and, consequently, we should avoid talking down to them about the situation.

Q5] Which of the following character(s) do you prefer (based on actual character)?

This was a simple, "pick one from this list" answer type (closed) which comes with a snag.  For our set of answers, we chose a variation of characters that each had separate established character traits.  The problem is, that in order to do that, we had to go rather obscure in some places.  Nothing too obscure that people who frequent the Internet wouldn't be able to recognise (which is why we picked SHODAN from System Shock), but still very unlikely for the average person to recognise.

As such, the fact that Lara Croft is the top pick comes as very little shock, and the fact that Princess Peach is second (and a very distant second at that) comes even less of a shock.  Having said that, every character on the ballot received one vote, implying that at least some of our audience are rather knowledgeable about game characters.  Upon further reflection, it would probably have been a smart idea to both allow responders to pick more than one option and to allow them to explain why they chose the option that they did, in order to get a better insight into our audience.

Q6] What is your opinion on Hottest Gaming Characters lists?

Lots of very opinionated answers here, thanks to the "open" answer type.  Plenty were in the negative side (one even stating that it "backs up [his] answer to Q4") and most frequently used words were "creepy" and "sexist".  The most intelligent and well-written answer that we came across was as follows.  "A tad odd, as something made out of renders and polygons cannot REALLY be 'hot'. They just seem to be set up to appeal to a niche market."  And then we had someone actually critiquing the list based on who they thought should have been where.  Moving on.

Q7] If you answered no to Question 3 in Part 1 of our survey, would you be interested in watching a documentary about videogames?

Three people responded to this question, even though every answer from Part 1 was in the affirmative.  Nevertheless, two people answered "yes" and the third put the condition of "as long as it's good".  Now, that seemingly goes without saying, but it does mean that there are people who aren't necessarily into videogames who are willing to give the documentary a go as long as it's good.  That's genuinely useful info that we can use.

Thursday, 25 October 2012

TA Research

Whilst conducting our target audience research through the use of a free-premium online resource, Free Online Surveys. However, after collecting a good quantity of responses, the resource declared that we had breached the boundaries of the free service, meaning in order to analyse and review the results, we would need to pay £12 a month. We therefore decided it would be best to use another site - one that was more trusted and was free forever; polldaddy. We re-constructed our questionnaire, and have re-sent requests out to Facebook and Twitter to gather up responses once more.

Here is evidence of us using Facebook to spread the message:

The top post shows us sending out the request for feedback on our survey
Here is evidence of us using Twitter the first time to get the survey out.

And here is evidence of Twitter being used the second time around to encourage people to get involved.

Tuesday, 23 October 2012

Kyle: Similar Product Research


“Level Up!”


A fitting example to examine for our similar product research is “Level Up!”, a documentary created in 2011 to explain an individual’s look on video games through a wide range of gamers. This includes what implications gaming has on real life in terms of content and stereotypes displayed through games. This is done through the use of interview's with gamers not only in their homes, but at major gaming-related events such as LAN Fest. The documentary is shown using an observational mode, as the director/film crew are neither taking part nor being noticed by the gamers participating (the interviews are exempt from this statement). It also contests with the theory of sexism in gaming, which is our chosen genre to develop in our documentary, making this documentary very useful to us. One thing that makes this documentary stand out is it’s chosen target audience, which appears to be those in their 30’s, but is slightly more focused on women in gaming. Not a lot of documentary’s out there that refer to video games focus on women, as it is usually seen as a “male-dominant hobby”.

Their chosen mise en scene is pretty standard. They mainly use living rooms to set the scene in terms of the typical gaming environment, whilst getting shots of the consoles available today. They also use natural, high-key lighting to aid this typical environment. The techniques they use for the documentary are again simple, as they use a combination of interviews to the camera crew and a compilation of file footage. Their interviews are varied between casual gamers, daily gamers and gaming experts/professionals. This helps them to cover the “whole picture”, ensuring that they depict how different people see gaming as an impact on their social/personal lives. The file footage used to begin the documentary gives the back story so that non-gamers that watch the documentary know when/how video games began.

The camera techniques they use are mainly medium close-up’s of their interviewees, over-the-shoulder shots showing an observatory view of the gameplay being conducted by the gamers involved and even several clips from a webcam interview conducted with an expert. This short range of techniques, however, depicts the argument of gaming from both sides; the amateurs and the experts. Editing is also used here, such as a number of cuts and fades to transfer between “gamer levels (a term used in this documentary to show how different people see gaming)”, signifying the end of a groups argument and the beginning of another argument. I find this very interesting, as it is relevant to the topic of the documentary as the voice is remixed in a way that makes it sound techno-based, like a robot. I will discuss this with my partner as a possible change to the initial ideas, and see if we can't introduce some kind of concept similar to this. They also use slow ASL (Average Shot Length) to create an impact so that the viewers are able to see the full extent of the gameplay these gamers are displaying, and can see how the gamers could be interested in this.

They use an up-beat soundtrack to support the opening title sequence, which is techno/game based (relating to the topic of the documentary). This would be a good thing to consider when it comes to planning out our documentary, as we may want to consider some form of soundtrack/theme tune at certain points when we come to editing the final extract. 

Video games themselves are slowly becoming more realistic and life-like; an example of this being that Nintendo are continuously developing fitness games for their Wii console (such as Wii Fit and Zumba). The problem with this is that these kind of games slowly detach people from society and the benefits of having a social life. Some people, however, cannot help but not have a social life. They say "I can't help but play this game whenever I can", however this isn't the case; they simply can't be bothered to TRY not play said game whenever they can. This could be a possible issue we can investigate in our documentary.

Institution Involved
The institution involved with this documentary is called Purple Mouse Production Company (or PMP for short). They are a "production company that thinks differently", and was created by Jeffery Colebank, who has been responsible for several small films/other documentaries that have been entered into film festivals all over America.

Here is the documentary:






The Story of Computer Games 
"The Story of Computer Games" is a documentary created by The Discovery Channel in 2003, and takes the viewer on a journey through the years of computer games. From the development and introduction of Pong to today's heavy-hitting gaming franchises such as Call of Duty and FIFA.
This documentary uses an expository mode, as there is a voice over that is using logic that can be argued against.

Their chosen mise en scene focuses on the homes and local areas that their interviewee's tend to visit frequently. An example of this being when Nolan Bushnell (founder of Atari) installed the prototype of Pong in his local tavern in 1972 to test the system out on the public to see their reactions. Another example of this is during the interview scenes with Al Alcorn, as they use the Po ng system in the background as a prop to show off an authentic working environment. They also use archive footage of adverts and locations used during its production and marketing campaigns. The interview segments, however, are very brief and do not linger around for long, meaning that the documentary heavily relies on file footage and voice overs to explain the focus of the documentary in more depth.

The camera techniques used during the interviews and any other relevant shots aremainly medium close-ups. This doesn't give much prospective to the documentary, as this means there is a lack of variety of shots, meaning the viewers may become bored over the duration of the documentary (they may even not be there at the end!). This is something we should avoid if possible, as the quality of the target audience response will be reflected by how we use different shot types and scenes in our developed extract. They use a fast AS, which isn't particularly benefiting the documentary and the decisions made by the producers during its development. It means their viewers won't get a very long viewing of the footage involved and, therefore, means that they may not get the experience they were hoping for.

The soundtrack used is mainly for tension, and doesn't fully relate to the documentary/issues that are raised. The only relatable soundtrack used is for the title sequence, which uses techno-themed music as a soundtrack. Considering the nature of the documentary, some of the decisions for the documentary during production were poorly-considered ones (including the soundtrack and the shot-types used). This documentary does help us however; it show's what we need to avoid falling into doing, and that we need to consider every aspect of our intended documentary BEFORE compiling it all and putting away the cameras. This result should be avoided,



Here is part 1 of the documentary:




Thursday, 4 October 2012

Both: Our Target Audience

We have decided our documentary will be aimed at 18-30 year olds for both genders, but it will be more focused on females rather than males. Aiming at this would make our documentary more unique, as there are very few documentaries around that focus on this genre/target audience combination. We will use a mixture of people who come from different backgrounds, as we will focus on people who come from both rural and urban environments. As for the class, we will focus on middle-class people because the majority of middle-class people have at least experienced video games, whereas lower-class people can barely afford video games let alone play them, and higher-class people never pay attention to any story lines or concepts involved in video games, and only play for their own benefit.

As for researching our target audience, we have many options open and available to us. We can interview fellow college students as they have first-hand experience with video games and play them occasionally/regularly (obviously some play more than others, so they will have a better insight to the view of women displayed in video games (especially those who are female). This would get us responses from those at the bottom-end of the scale of our target audience range, but we would need to use multiple techniques in order to get a full-scale response. We could use another technique such as the social media to get even more responses. Using websites such as Facebook and Twitter to publish short survey's/polls to friends and followers would give us a wider response from those who we cannot contact through other means. We can also post a survey/questionnaire on a gaming forum so we have more relevant answers/views to develop our project with.

This is the survey we will use:

Link To The Survey: http://freeonlinesurveys.com/app/rendersurvey.asp?sid=sal01ncm1gty0t5128616&refer=

Survey for Target Audience
Intro:
How old are you?

What gender are you?

Part 1
  1. Have you ever watched a documentary? (if no, skip to part 2)

  2. What genre of documentary do you typically watch?

  3. Do you watch documentaries when they premiere, record them to watch later or both?

  4. If you watch them live, what time do you generally watch them?

  5. What channel do you usually watch these documentaries on?

  6. If you don't watch the documentary's when they premiere, what sort of catch-up do you use to view it?

  7. Would you be willing to watch a documentary that focuses on video games (if not, why?)?



Part 2
  1. How often (if you do) do you play video games?

  2. What genre of video games do you normally play?

  3. If you do play video games, how many feature female protagonists (main characters)?

  4. What's the first thing that comes to mind when “video games” and “women” are used in the same sentence?
  5. Which of the following character(s) do you prefer (based on actual character)?
  • Alyx Vance (Half Life)
  • Chun-Li (Street Fighter)
  • Lara Croft
  • SHODAN (System Shock)
  • Princess Peach


  1. What is your opinion on Hottest Gaming Characters Lists (http://www.complex.com/video-games/2012/06/the-50-hottest-video-game-characters/)?

  2. If you answered “no” to question 1, would you be interested in watching a documentary on 
    video games?

Monday, 24 September 2012

Callum: Similar Product Research & Shot Analysis (Charlie Brooker's Gameswipe)


One of the most recent documentaries on videogames to be played on British TV is Charlie Brooker's Gameswipe, shown on BBC Four in 2009.  Hosted by British TV critic and ex-games journalist Charlie Brooker.  It's presented in a rather expository way that explains things for non-game players, but also goes into enough detail to appeal to actual gamers and not make them feel talked down to.  Seeing as the target audience for the documentary is, seemingly, men in the age range of 18 to 30 that either do or do not play videogames; this style fits.

It uses relatively simple techniques - interviews with an off-screen interviewer, direct-to-camera pieces and lots of file footage - but these are buoyed by other techniques such as humorous visualisations of non-sequitors and metaphors, sections where Brooker talks to the camera whilst playing the game he's talking about, and sardonically commenting on said file footage.  Some of these techniques are perfect examples of reportage, whilst others are more reminiscent of entertainment shows.   They help vary the style, keep the pace and make it interesting for the viewers, though, especially non-gamers.

The actual shooting style, however, is very simple.  Consisting almost entirely of Mid Shots and Medium Close-Ups; editing that purely utilises cuts and, sometimes, fades/dissolves.  There is, however, in the switch between multiple wildly different scenes and sections, a recurring image of, presumably, a Spectrum reset screen.  It makes an effective crash transition and makes a nice easy section break.  An indicator to the viewer that it's time to move on.

The institution that the show was broadcasted on is the BBC.  This documentary educational and informative, yet entertaining; easily achieving the three key aims of BBC programming.  This may be due to the production company of the show, Zeppotron, being an entertainment show company more than anything else (one responsible for such shows as 8 Out Of 10 Cats and A Touch Of Cloth among others), helping them avoid the supposed stuffiness of the usual documentary.  Seeing as they are an entertainment company, we probably shouldn't take many of their production techniques or audience research styles for use in our own project.

Gameswipe is hosted by Charlie Brooker, a man, funnily enough.  And all of the extra contributors are men, barring Rebecca Mayes whose gimmick is that she reviews games whilst playing music.  Being very male dominated, this makes the documentary fit two pre-conceptions.  The first: documentaries are fronted by men.  Second: games are mostly for men and, consequently, only men will be interested in the subject.  This is something that we could subvert by having a more prominent female contribution to the program; possibly even as a co-host.

This style of documentary is very appealing to me as it manages to remain interesting to the viewer throughout.  There's hardly a moment where it sags and, I believe, it's thanks to the informal presenting style.  Rather than drone on for 5 minutes in an extremely dry manner about one specific subject, Brooker and the show keep things moving and, for the times when it does slow down to focus on one topic, it's always livened up by a good joke or insightful line popping up every few seconds.  We could do well to take this style of documentary and apply it to ours for our target audience.

Shot Analysis
In the opening five minutes of the documentary, excluding the elaborate animated title sequence, there are a total of 29 different shots (not counting changes in camera angles during the file footage).  Of those 29 shots, 19 are different pieces of file footage.  That equates to an average of 10.3 shots a minute, though the sheer length of several pieces of the file footage definitely brings the shot total down considerably.  Average shot length varies between 30 seconds, for extended file footage and more elaborate sections of Brooker talking to the camera, and about 5 seconds, during short flashes of some pieces of file footage and Brooker making humorous asides to the camera.


A frequently used shot type is the Medium Close Up.  This is used almost whenever Brooker is talking to the camera and brings an air of authority to proceedings.  These are the serious moments where Brooker starts getting across genuine points.  He's both authoritative but also a relaxing presence; he's not getting completely up in your face and his demeanour is very relaxed.


The other frequently used shot type is the Mid Shot.  The usage of natural lighting and Brooker being sat on a couch creates a rather informal mood, like the viewer and him are buddies having a conversation and either watching TV or playing games together.  At the same time, he uses it to relay important information to the viewer; making these informal seeming situations just as formal as the previous shot style.  However, Brooker also uses these shots to sardonically quip on what footage has been shown, retaining the air of informality.


Occasionally, the show switches up its shot types to instil a sense of variety. This Long Shot, for example, gives the audience a sense of the environment nearby.  Plus, the sheer pullback of the shot gives the audience things to focus on besides Brooker.  For example, the TV and the ZX Spectrum that he's talking about in this sequence.  He would later pick up the Spectrum, turning it into a prop, and the shot would switch to an MCU of Brooker holding the Spectrum, switching the audience's point of focus.


For this contributor/interview segment, the shot type is a Two Shot that also doubles as a kind of Mid Shot.  It clearly shows both participants in the interview with no particular emphasis on one person or the other, save for the person on the right being more forward and forceful in the delivery of his answer/his section.  The pole in-between them gives one of them something to lean on, emphasising his less confrontational style, cleanly separates the two sides of the screen and, consequently, the interviewees and gives something for the audience to centre their gaze on.

Oftentimes during this interview segment, as well as interspersing file footage of what the two interviewees are talking about, it'll switch to Close Ups of the person talking at the time.  This is more to vary up the shots of the documentary, more than anything else, but it also provides extra emphasis on the person speaking.  The documentary guiding the viewers gaze to a specific place on the screen.

Thursday, 20 September 2012

Kyle: How has your chosen genre developed over time?


How has sexism in gaming developed over the years?

As depicted in the first post, the project we have decided to produce a documentary with its genre being gaming and sexism in gaming.
The industry of gaming itself has developed thoroughly over the years, from “Pong!” being developed and created in the early 70's to some of the most expanded gaming franchies in the last 20 years, including the Call of Duty and Warcraft series', both dominating the gaming markets. However, most of the franchises around today rarely include female protagonists, and those that do usually depict them poorly, as they are usually seen as the “damsel in distress”. Considering a good percent of the world constantly play video games, the way these games depict them are also affecting how women are seen in the outside world, especially in more violent games such as Grand Theft Auto IV (2008), where it is implied it is OK to beat up innocent women for no reason (which usually leads to sexual violence cases in courts).
It is not to be implied, however, that there are no game franchises whatsoever that do not feature female protagonists. This is shown in the
Tomb Raider franchise, which has developed well since its debut to the industry in 1996. It has crossed through several industry's such as the video game industry and, subs-sequentially, the film industry, producing 2 films currently to date; Lara Croft: Tomb Raider (2001) and Tomb Raider: The Cradle of Life (2003). Ignoring the concepts of other video games, this video game features Lara Croft as a strong adventurer hunting in ancient relics, finding ways through anything she encounters on her journey (human, natural or other). Her human opponents are almost all male, who are usually defeated by Lara and are seen as helpless, which flips the sexism table so that men are seen as lower than women.
There are some games with female protagonists, and some games where women are shot for no reason. Thats right; those games ACTUALLY exist.




















How have documentary's developed over the years?

As we know, documentary's dated back originally in 1895. But the term “documentary” wasn't invented until 1922, when the first official documentary was released: Nanook of the North. Nowadays, documentaries have crossed into the film industry and have been able to produce sub-genres i.e. Docudramas, docusoaps etc. Documentaries has seen a fair few theorists study them closely to try and analyse them, a good example of this being Bill Nichols, who looked at the history of documentary and identified 6 distinct modes; observational (“window on the world”), participatory (interaction between director and actors), reflexive (awareness of the process), performative (filmmakers as participant), expository (“voice of God”) and poetic (subjective, artistic expression). These mode's were used to categorise documentaries, making the range of styles between them distinct and recognisable.

Another theorist who has helped to apply theory to documentaries is Michael Rabiger. He was an expert in documentaries, considering he had written Directing the Documentary (1998), and believed that a documentary “should adhere to certain conventions in order to be considered a proper documentary”. An example of this criteria is that a documentary should “not really value neutral information like a textbook”, meaning that the documentary should not be biased in favour of either side of the story being told in the documentary.

Documentaries have also passed through into the film industry, shown through docu-films such as Senna (2010), which depicted the life and career of three times Formula 1 Brazilian World Champion Ayrton Senna.

Documentaries have developed well since their official branding 90 years ago, and still stand today as very popular, as they cover the majority of topics available, including nature-relevant documentaries (such as Bear Grylls) and (relevant to our project) gaming-related documentaries.

Past documentaries Bear Grylls: Man vs Wild, Nanook of the North and Senna








Thursday, 13 September 2012

Both: Initial Ideas And Initial Treatment

Our group for this A2 project consists of Callum Petch and Kyle Edwards and we are both doing a documentary together.  We have set two deadlines for our project; the film needs to be completed and burnt to a DVD by December 21st and the evaluation of the product needs to be completed by February 14th.

Subject, Length & Purpose

We have chosen to base our documentary on Representations of Women and Sexism in Videogames through the ages (which, in the grand scheme of projects, would be an extract from a TV series on videogames).  It will last roughly 5 minutes, maybe a couple of seconds either side.  The purpose of the documentary is to inform and educate whilst also remaining interesting and accessible to those who don't necessarily know much about or are that interested in videogames.  This fits with our audience of 18-30 year olds with a slight focus more towards women for the extract, given the topic of the "episode".

Style

Our style will be informal but in the "keeping things interesting" sense, rather than being unprofessional or straight comedy.  It will be age-appropriate, as such, and educational for those who are looking to learn.  It will also be argumentative as a way of calling for a better representations of female characters and actual stories as the extract progresses.

Budget

The budget for this project is at a maximum of £40, though we are aiming to keep it as low as humanly possible.  This is taking into account if we need any props, costumes, transport and such that other people don't happen to have or have access to.  Hopefully, though, we shouldn't need to worry too much about that.

Equipment

As for equipment: we will be utilising a video camera, a camera tape or card for recording on to, screen capture software on a computer to record appropriate videogame footage, a tripod to steady the camera and some prop consoles and controllers for specific "talking to the camera" sections.

Genre Theory

John Hartley once said that "genres... limit the potential of a given text."  This means that the conventions of a documentary limit the documentary's ability to be anything but.  We plan to challenge this concept by adhering to certain conventions of a documentary (voice over, file footage, etc.) whilst subverting and breaking other conventions (having a female co-host for a talk about sexism, for example).