Friday, 15 March 2013

Both: Evaluation Q4: Media Technologies


How did you use media technologies in the construction and research, planning and evaluation stages?

During our Media Studies assignment, we utilised many different technologies in order to help us accomplish our task.  These came in varying types of specialty and complexity, but all were invaluable in some way throughout the project.

For both the planning and evaluation sides, we needed to survey our target audience in order to get their opinions and feedback on various aspects of our production.  Due to us both not knowing particularly many members of our target audience, we reached out to our target audience using various forms of new media to ask people who we may not physically know for their assistance and opinions. We utilised Twitter and Facebook for this task by sending out the link to our target audience surveys and politely asking our friends and followers to answer them for us.  The responses from both services, Twitter especially, actually ended up constituting much of our Target Audience research. In short, it was invaluable.

In order to film the documentary, we had to use various video cameras from our college’s Media Studies department.  These recorded onto rewind-able and re-usable tapes and not digital SD cards, due to the college not owning a single one of those types of cameras.  This did make the subsequent capturing and editing of footage in post-production difficult, due to us being unable to simply go back and record over our mistakes (tape audio/video has a habit of going out of sync when that happens); but we managed to make it work by being extra careful when the time came.

Filming required very little technology, save for the set-dressing of some turned on, video-playing computers in the background of some shots (specifically, this one).  The interview problems have been documented in a prior blog post.  Most of the media technology used comes from post-production and editing.  In order to record the respective voice overs for our hosts, we made use of Garageband and its ability to record podcasts.  This program gave us high quality recordings exported in a large bitrate with minimal loss or distortion, which was perfect for our documentary.

Acquiring the file footage was done by installing an application called YouTube Downloader.  This enabled me to download videos required to make up the file footage in whatever quality and format I desired straight from YouTube.  The program was extremely helpful as none of the personal computers we had were powerful enough to run a YouTube video and some screen capture software at the same time.

The editing portion of the production came from the usage of Final Cut Express.  This video editing software was where the random pieces of footage, audio recordings, presenter links and awkward interview subjects came together to become an actual, watchable documentary.  We both learnt how to dub in narration, create fancy transitions, manipulate text to get the type of motion that we were looking for, how to adjust audio levels so that music wouldn’t drown out important audio, how to insert file footage over presenter footage, how to craft our title sequence (short sharp and specific rhythms of text) and much more.  It was a long, painful process, but our documentary would not be of the quality that it is without it.

Whilst on the subject, we also used Final Cut Express to craft the Director’s Commentary in the evaluation.  Quicktime was used for recording the audio (via the Audio Recording option as we were not able to acquire a machine with Garageband on it in time), but we utilised Final Cut to match everything up.  This involved cutting all of the audio tracks and replacing them with mine and Kyle’s commentary on proceedings.  Due to some topics and sections running long, I had to occasionally “pause” the documentary, a freeze-frame of a random section, in order to keep everything running relatively to time.  Using these techniques were far better than simply, say, physically recording us watching and talking over the documentary as it allowed us multiple takes to talk about what we needed to talk about, gave us a chance to edit out major mistakes in post, and meant that there was no awkward dead air during the commentary.

For the construction of our ancillary tasks, we made use of Adobe Photoshop to create them.  We were both familiar with Photoshop after having used it for our Foundation Portfolio last year and so creating our ancillaries ended up being really easy; compared to most of the other programs we had to make use of during the project, at least.  In addition, I held a photoshoot for my Double Page Spread piece with a digital camera borrowed from the Media department.  It had a very limited range of options but it managed to take pictures perfectly fine and captured the image used for the ancillary, so I would say that it did its job well.


When it came time to get evaluative opinions on our documentary, in addition to the standard practice of creating a collection of paper surveys and distributing them to a room full of willing volunteers after they have viewed our documentary, Kyle decided to upload the documentary onto his YouTube channel in order to give it greater exposure and for the chance for some extra feedback.  Sadly, this did not work out as expected.  Specifically, nobody gave us any feedback.  We received no comments and no likes or dislikes.  I’ve chosen to take this as a positive action, as no criticism gives me the chance to believe that nobody had major problems with the documentary.  Also, we both have had many bad experiences with YouTube commenters in the past, so the chances of us having gotten some constructive feedback were extremely unlikely, anyway.

We had also used YouTube previously for our Similar Product Research during the planning phase.  This simply involved us watching footage of gaming documentaries that we had discovered and seeing what documentary conventions those programs stuck to, how they presented their information and how much we wanted to follow or break their style for ourselves.  YouTube was extremely helpful with this task thanks to the lack of documentaries on the subject (and, in fact, in general) being available on DVD for us to watch.  The Internet was the only way to be able to watch these shows and without such a well-laid out and comprehensive service as YouTube, it may have taken a literal age to find them.

As we were going about our process, we documented all of our progress via a free blog service called Blogger.  We set it up at the very beginning of the project and posted all of our work, research and updates onto there as they happened.  This not only created a singular hub to be able to store every single piece of work onto for easy access and archiving, it also gave our teacher a place to provide up-to-the-second marking.  We could get feedback on each piece of work as soon as it was done and then improve upon it from the advice we got.  I feel, personally, that it was possibly the most important non-filmmaking piece of technology we used throughout the entirety of the project.

Finally, we utilised SlideShare for the posting of Presentations onto the blog.  Though Blogger is a free service, that also came with the caveat that it was lacking in features; one of which being the ability to directly upload Presentations into posts.  This made it impossible to answer evaluation question number three unless we found a workaround.  Fortunately, we discovered SlideShare, which enabled us to simply upload the file onto their server (after creating an account) and then posting the requisite link to the blog post.  This was a late addition to our list, but one that would have caused us to fail the evaluation if it didn’t exist.

Friday, 8 March 2013

Thursday, 21 February 2013

Callum: Evaluation: Ancillary Tasks

How effective is the combination of your main product and ancillary tasks?

First, I'll answer in regards to the DPS.


The DPS magazine feature is linked to the overall product in a number of ways.  For one, there's the very prominent featuring of our female co-host Amber Rickell in both the article's text and the image on the "second page".  On the downside, this implies name recognition on Amber's part, which simply isn't true.  On the upside, this could be used in conjunction with the documentary as a launch pad for a future career for her.  The usage of the Dual Shock 2 in the image, in addition to all manner of gaming terminology and references laying about the article ties us back into the gaming theme.

In addition, on more subliminal levels, the DPS ties back into our main product in other ways.  Amber is wearing the same jacket that she does for most of her time on screen in the documentary.  Her hair, whilst longer, is in the same style as in the documentary.  General colour schemes in the photo and the documentary are the same; including the return of relatively white backgrounds with hosts situated in front of them.  A bright red text colour replaces the yellow from the documentary, but here it's because yellow would be hard to see against the page colour, more than anything else.

I have had questions in regards to the register and the presentation.  Criticism has come in as to the tone; is it truly suitable for the target audience age-group that we are going for?  I would respond in the affirmative to that question.  The DPS style is meant to ape that of the Radio Times magazine; from the way the programme's information is presented, to keeping the pull quote on "Page 2" to the relative tidiness of the layout.  The register is still relatively formal but has a conversational tone to it that makes the reader feel involved without talking down to them.  This is rather similar to the tone of our documentary, again tying the ancillary back into our main product.

There are plenty of references to videogames in the article (even a full side bar on the retirement of the PlayStation 2) and there's a couple of paragraphs specifically about the treatment of females in videogames; linking back to the specific episode of our documentary that we made.  For example, Amber's extended speech about Lara Croft and the, at the time, upcoming Tomb Raider game mirror the usage of a clip from that Tomb Raider in the episode that we made.  Overall, the ancillary DPS links in with the main product well enough that it's hard to see it as being about anything else.

Now, the newspaper advertisement.

This ancillary is almost impossible to not link to the main product if you actually read it.  The details of the main product are clearly displayed and are very hard to miss (the title of the product, name of the episode, air time and channel), the register contains the information about the episode in question (even name-checking the hosts) and there are a pair of stills from the programme that are clearly from the show featured in question; as evidenced by the slightly grainy and muddy images, the fact that both images feature our hosts and one has an image of Clementine from The Walking Dead in it.  There are a lack of obvious videogame connotations in the images (images of characters like, say, Lara Croft or somebody holding a piece of gaming equipment), however, meaning that the reader has to actually read the text featured in the advert to get that the programme featured is about videogames.

It's in the style of The Independent's TV Guide section in each of their daily papers.  This is an audience that is definitely older and more sophisticated than what we are aiming for with our Target Audience (18 to 24 year old males, mostly), but it's still useful.  Yes; a strong periphery demographic is not our target audience, but they're still extra viewers at the end of the day and, in some extreme cases, can actually help bolster a product in addition to its TA.  So, consequently, aiming to try and gain some people from our periphery demo is a worthwhile investment that could pay off.

Wednesday, 13 February 2013

Evaluation: Section 1, Director's Commentary

In response to the question: "How does your documentary adhere to or challenge codes and conventions of the genre?"

Friday, 1 February 2013

Both: Target Audience Feedback Method

To get appropriate feedback from our target audience, we will be using a number of different techniques. We will be using questionnaires based on an earlier post (linked here ), as well as uploading a smaller copy of the video to YouTube and Facebook, to allow a wider spread of audience feedback to return to us, thus benefiting further our evaluation.

Friday, 25 January 2013

Callum: Ancillary Task: TV Guide Double Page Spread - Final Draft

Attached below is a JPEG version of my completed Double Page Spread feature for a TV guide magazine.

Wednesday, 23 January 2013

Kyle: Ancillary Task - Newspaper Advertisement: First Draft

We have completed the first draft of the newspaper advertisement as part of our auxillary task:



For the images, our original intention was to use a separate photo shoot to provide the images necessary. However, we re-thought our strategy, and instead decided to use a series of stills from our documentary as potential options to include on our advertisement. This may differ in future drafts, and may do so on the final product.

Tuesday, 22 January 2013

Callum: Auxiliary Task Research: TV Guide Features

Without prior exposure to the public, nobody will come and watch our documentary series.  That is just a simple fact.  Consequently, we must find various outlets of which to give our documentary series some exposure.  One particular way we can do this is by getting featured in a TV listings magazine (or a magazine that talks about TV in some way, shape or form) as a double page spread.  This way, it makes the publications seem like they are endorsing us and our programme and it gives us some extra viewers who may not have been previously interested in our documentary but are persuaded to give it a try thanks to the glowing review.

Before we commit to this, however, we need to see what TV guides are out there, so that we can see which is best for us, if we were to be featured.

TV Times
The TV Times layout one of informality and clearly for an older audience.  Much older than our intended audience.  As such, it's a got simple yet busy layout.  There's one big Medium Close-Up (heavily photoshopped) of the interviewee that takes up almost all of first page, with the body text being kept on the second page.  Thanks to this, it's clear where the article starts and the cheery face of the interviewee implies a positivity to the piece.

The colour scheme, too, is bright, breezy and inoffensive; perfect for the target audience that they're shooting for.  Purple, red, white and a very light blue; comfort colours.  Body text is black, keeping it traditional, whilst subheadings (which are related to the initial topic of the section) are in purple for easy notice and distinction.  The body text is written in a white box overlaid on top of the image taken for the piece; both for a clear distinction between photo and story and to make it easier to read instead of putting the black text on any colour background that would have made the black blend in.

Furthermore, there are pretty much always (I checked more features in addition to the one that I am analysing) three extra pictures are placed around the feature, in addition to the main one.  There's a screen-cap or still from the programme in question, a picture of the interviewee in a personal/private moment (to make them seem just like you and me) and a third picture of the interviewee with a barely relevant context (here, it's Claire Balding holding her book).  Pull quotes are stationed next to pictures of the interviewee and are generally comedic and light in tone.

Overall, whilst nice and comforting, TV Times are not the TV guide listings that we should be aiming for.  Without wishing to sound ageist, their target audience is far too old to both be part of our key demographic and to truly enjoy the documentary that we are aiming for, anyway.

Radio Times
Similarly to TV Times, one of the two pages of this DPS is dedicated to a photo of the interviewee (wide-angle mid-shot); this one far less photoshopped than before.  But that's about where the similarities end.  Radio Times adopts a far more professional look than TV Times, toning the colour down to simple white background (dark grey for the background of the photoshoot) and black text.  Any splashes of colour (such as the red heading for the NTA tangent, complete with a light blue background) are to denote tangents to the main piece or are part of the photo.  There is, in fact, only one photo on the whole spread and no sub-headings.  To off-set this, the text is much more evenly-spaced and clearer to follow than in TV Times.  Finally, the pull quotes are rather serious in nature and are very much related to the topic of the piece.

However, this whole professional veneer pretty much completely disappears the second that you start reading the actual text.  The style is highly informal and very conversational and very lighthearted.  "Here, dear reader, the Mary Berry we all know and love, who only very gently tells people that they have soggy bottoms or too much raising agent, changes completely."  It makes it very readable and keeps the whole magazine interesting to the reader even if it's a story about something that they had no prior interest in.

So, taking everything into account, we should pursue Radio Times for a DPS feature.  Their professional layout makes it seem much more high-end than TV Times but their highly informal writing style keeps it accessible to a younger and slightly-lower class audience than the presentation would suggest.  A lot of these people are in our key demo; we should definitely try to snap them up.

The Sunday Times: Culture
This TV guide is very unlike any of the others.  For a start, it's layout is incredibly sparse and not particularly pleasing to the eye.  There is one photo in the DPS (a wide-angle, medium close-up) but it is massive and takes almost all of the middle of the DPS from the top to about 3cm from the bottom.  It has been digitally altered to match the show that the feature is about, but other than that the DPS is text. Text, text and more text.  Small sized and closely spaced together text.

There are no subheadings and only one dropped capital letter at the start of an article.  Once you start reading, you are almost entirely on your own in regards to navigating the article if you stop reading at any point.  The pull quote, such as you can call it that, is extremely short and very small, stapled onto the right hand side of the image in about the same size as the rest of the text of the article.  As for the register, there is no humour here that's not from the interviewee and no personality in the text surrounding him.  It is very dry and extremely professional.  It's clearly for a very high-class audience, one that appreciates not being "talked down to", but is absolutely not for our target demographic.  Unless our target demo has suddenly switched to upper-class rich people who live in mansions in the countryside.

I think it's safe to say that we won't be using The Sunday Times: Culture when we start courting DPS feature requests.  It is absolutely not for our target audience and the people who read it are extremely unlikely to be persuaded to watch our documentary.  They're most likely to be turned off by our entire premise, more than anything else.

Monday, 21 January 2013

Kyle: Ancillary Task: Newspaper Article - Text Draft

Here is the first draft of the text we intend to use for our newspaper advertisement:


Article for the newspaper advert

Critic's Choice: Pick of the Day
Insert Credit(s) - Sexism in Games (BBC Three, 9.30pm)

With the world of gaming having constantly changed in the last 50 years, controversial issues have come and gone: effects on reality and society being two of them. This episode of the 3-part special covers yet another issue: the sexism that stems from video games. Hosts Kyran Lowe and Amber Rickell take us on a journey through how controversial games has caused sexism to occur, and to what extent this has shaped future developments in the industry. This hands-on documentary is one not to be missed, with helpful insights from those within the industry, and their views on the matter at hand.

Friday, 18 January 2013

Kyle: Ancillary Task: Newspaper Advertisement Plan

One of our choices for our ancillary tasks is to create a newspaper advertisement.

We have agreed that we aim to use the advertisement in papers such as The Sunday Times, The Times and the Guardian (for our final draft we will use the house style of the "Culture" pull-out magazine within The Sunday Times to demonstrate it's effectiveness.) We have also agreed on other key features of the article:
1. The time and date the programme will be shown will be in mid-December, and after 9:00pm (we will finalise this decision in due course).
2. The blur should include a brief overview of the documentary, whilst not condescending any aspects of the programme itself. It will also include a brief opinion from a "critic", hopefully strengthening the promotional level further.
3. The photo used will be a still from the documentary. Our options are to either use one of the hosts, both of the hosts or the initial title sequence.
4. The advert will be shown as if it's a "Critics Choice", giving it an extra promotional strength.

Here is an example product of what we intend to follow:


Tuesday, 8 January 2013

Both: Planned Photoshoot

For one of the auxiliary tasks we have chosen, we are required to create a double page spread in a TV listings magazine. For this double page spread, we will require a photoshoot to be undertaken to attach to the text.

Props

We will require only a few props for this photoshoot. We will require a table, a television set, a games console of our choice and an assortment of relatable games cases to accompany the console. These objects all relate to the topic of the documentary. Games posters and other diegetic items may also be used to add to the mis-en-scene of the location

Location

As for the location, the plan is to use a room that has either nothing on the walls or has easily-removed items that can be replaced with diegetic objects and our props. The room will need to be spacious as we need to fit a rectangular table and four people into the room without anything appearing to be cramped. Lighting will be diegetic and (should we decide on the appropriate shot) may emit from the television set itself into our actor's faces to give it more of an effect. 


Actors/Members of Group Present

The actors required will be the host's of the documentary, Amber Rickell and Kyran Lowe. As well as these two, there will only be one member of our group available to attend the photoshoot and operate the camera equipment. Callum Petch will be the one doing so, as the other member (Kyle Edwards) is due to take an examination that would conflict with the scheduled photoshoot.

Costumes

The costumes intended will be similar to the theme we used to film the documentary; clothes that don't promote any un-related items, but instead that are either just plain or publicise game-related brands/quotes. This will let us keep strictly to the genre in question.





Both: Copyright Disclaimer

We acknowledge that we have used copyrighted music, game footage and images in the final production of our documentary. However, in the Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. This documentary is purely for educational purposes and is not intended for direct public use.

Kyle: Auxilliary Task Product Research: Newspaper Advertisement

As previously explained, we need to heighten awareness of the documentary. One additional method we can use to do this is by advertising in appropriate magazines using newspaper advertisements. The problem with using only one type of advertising is that our main target audience may not pay attention to. In our case, it may be that not everybody buys TV listing magazines and, instead, buys newspapers daily which, in a few cases, also contain a guide for certain TV channels. This would make it an ideal place to advertise our documentary further.

The Times

The Times is a well-known British newspaper, meaning it already is well-established and sells well. Advertising in this paper as well as listing magazines would mean that our documentary would be getting more publicity. Also, unlike some TV listing magazines such as What's On TV, they do not automatically give "spotlight space" to popular soaps or programmes that are on daily, but try and give each programme equal publicity, with rarer programmes getting slightly more than the traditional daily programmes in some cases. Each featured channel also gets equal column length, giving some programmes the opportunity to "sell themselves" to those reading this section. Also featured in the section are detailed reviews by popular critics for the magazine on some of the programmes listed (mainly the unique ones), providing an opportunity for us to promote our documentary to a higher extent. This is something we should aim for when making our advertisement.

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.