Monday, 19 February 2018

10. My planning evidence (e.g. location report, risk assessment, timeline, storyboard, flat plan, script, recording script, shot list, top-down plan, cast list, costume and props, hair and make-up preferences).

I created many documents during pre-production to ensure I was organised and prepared for my shoots.

=I created timelines for both of my adverts to gain a clear understanding of the order of events that constructs the narrative.

=I wrote up my timelines into script format with dialogue and clear changes in location. This is a more professional document that I can give to my cast and crew to refer to during the shoot.

=I created two A3 storyboards to allow me to visualise how I would communicate my script in video form. This also allowed me to see the proportion of different shot types and angles to ensure that my final advert looks visually dynamic and interesting.

Shot List
=I created a shot list as a typed-up version of my storyboard, giving me a guideline of what to film on each shoot and to not miss any shots. I will tick off each shot as I film them and this will hopefully mean that I will not have to schedule another day to shoot forgotten parts.

Cast & Crew List
=I created a cast and crew list with pictures of each actor/crew member. I also wrote short descriptions of each character to give the actors to aid their performance.

=This is the branding I created for the 'Wave' deodorant can. I was inspired by other deodorant brands and bottles and created a bold design on Photoshop to allow my product to stand out in the crowded bathroom. I will print this out and wrap it around an existing deodorant can (which I had measured it against) to create my unique deodorant. This was important for me as the characters are seen interacting with the deodorant in both adverts and therefore could not be added in after.

Costume, Make-Up & Props List
=I created lists of costume and make-up to ensure that my actors were ready for each shoot and wear looking like their character. I created a props list to make sure that I didn't forget to bring or ask for any props and have split them based on shoot day.

Location Report
=I created a location report to gain a clear understanding of where I was shooting each day and the restrictions of that, including sunlight through the day and possible busy locations.

9. The practicalities of filming /recording /photographing: when and where production will take place and who with

I am planning to shoot my TV adverts over three days in various locations, with some shoots primarily based at home and others in central London. I created a large table with all the basic information for each shoot, including call time, location, costumes and props, to ensure that I know what I need on each day and can let my cast & crew know accordingly.

Monday, 5 February 2018

8. The planning I intend to complete in order to ensure a successful outcome for my production

I intend to complete pre-production planning to prepare for my shoot weekend, which will hopefully take place on the weekend of the 10-11th of February. Therefore, I hope to complete the planning below by Friday 9th February and give some of the documents to the relevant cast and crew members attending the shoot.

I hope to complete:
  • Timeline (already completed for post 1- 15/12/17)
  • Script (completed 7/2/18)
  • Storyboard (completed 8/2/18)
  • Shot list (completed 9/2/18)
  • Shoot schedule, with costume and hair/make-up preferences for each shoot (completed 6/2/18)
  • Location report and photos (completed 8/2/18)
  • Cast & Crew list (completed 6/2/18)
  • Props list (completed 6/2/18)
  • Branding design- logo and deodorant itself (completed 8/2/18)

Friday, 2 February 2018

7. My Statement of Intent

Below is my statement of intent, describing how I hope to fulfill the brief and communicate meaning in my two TV adverts. Written February 2018.

Saturday, 27 January 2018

6. What I have learnt about the ASA rules in relation to television advertising and how I intend to use this knowledge and understanding, to ensure my production is appropriate to the media industry context of the set brief I have chosen.

The ASA are the 'Advertising Standards Authority' who are the UK regulator of advertising. Although the ASA are a 'non-statutory organisation' and therefore cannot stop adverts from being released but can take them down if they find them offensive or misleading.

The whole UK Code of Broadcast Advertising (BCAP) code can be found here and applies to all Broadcast advertisements, TV and radio advertisements, and "programme sponsorship credits on radio and TV services licensed by Ofcom."

Here is an example of the topics covered on the document, with over 30 sections outlined, highlighting different areas of compliance for the BCAP code, including "harm and offence" and "privacy."
Although the ASA Code is very long and wordy the main rules are that advertisements should not "mislead" or "cause serious or widespread offence or harm." Many of the pages are not relevant for me, such as any of the examples of "prohibited categories" products, such as the advertising of gambling sites or charities, which I do not need to worry about. Despite this, I found some interesting statements in the code and commented on how they relate to me below.

Inappropriate factors that I will consider for my TV adverts:
  • Exaggeration 3.12: "Advertisements must not mislead by exaggerating the capability or performance of a product or service"
    • Therefore, I will be careful to not exaggerate what my deodorant can do and therefore not relate my protagonist's lifestyle on the deodorant too heavily
  • Harm & Offence 4.1: "Advertisements must contain nothing that could cause physical, mental, moral or social harm to persons under the age of 18"
    • If I use actors under the age of 18, I need to ensure that they are not seen under harm
  • Harm & Offence 4.9: "Advertisements must not condone or encourage violence, crime, disorder or anti-social behaviour"
    • Encouraging violence or anti-social behavior is heavily discouraged by the ASA and so I will ensure to stay away from portraying such issues
  • Privacy 6.1: "With limited exceptions, living persons must not be featured, caricatured or referred to in advertisements without their permission. Exceptions are made only for brief and incidental appearances, such as crowd scenes"
    • This exception of "crowd scenes" being able to be filmed without their direct permission is something that I was not aware of and puts my mind at ease, when filming exterior scenes in central London

Case Study: Dove's 'Racist' Facebook advert
The advert above was released in October 2017 by Dove UK and features a woman of African descent with a dark brown coloured t-shirt, taking the t-shirt off to reveal a Caucasian woman with a lighter-coloured t-shirt on. This featured on Facebook in the form of a looped video and raised a lot of questions about representation in advertising and how people of darker skin are portrayed.

Due to this advert featuring on Facebook, a platform not regulated by the ASA, the advert was taken down by Unilever, a transnational cooperation that owns Dove. This was taken down quickly due to the platform and also spread to Twitter where members of the social network were able to let their comments be heard. This comparison between conventional and unconventional advertising was very interesting. For a TV or print advert to be taken down, many people need to complain directly to the ASA and they need to process them and make a decision. Even after it has been ruled against, a print advert in a magazine or tube station is comparatively more difficult to take down than a social media post. Following the backlash on social media, Unilever also apologised for this through Dove's Twitter page, tweeting the message below.

Despite this, this case study is also interesting due to the feelings of the black woman who modelled for the campaign. Lola Ogunyemi, of Nigerian descent, wrote an article for 'The Guardian' about the campaign with the headline "I am not a victim." She commented on her very positive experience on the shoot with Dove and wrote, "While I agree with Dove’s response to unequivocally apologise for any offense caused, they could have also defended their creative vision, and their choice to include me, an unequivocally dark-skinned black woman, as a face of their campaign." This demonstrates the importance of representation in the media and makes everyone reflect on the true white-dominated industry that personal hygiene product advertising is.

This research has allowed me to understand the true importance of representation in advertising but even more significantly, how adverts, particularly shorter ones, can be interpreted in different ways by different audiences.

Wednesday, 24 January 2018

5. What I have learnt about the representation of events, issues, individuals and social groups in television adverts and how I intend to demonstrate this knowledge and understanding in my production in order to communicate meaning successfully.

I have looked at many TV adverts to explore how events, issues, individuals and social groups are represented and am going to compare two TV adverts, Dove UK's #MyBeautyMySay advert and Organic Balance's 'Real Morning Report' advert. Although both adverts are over one minute long, I will be analysing them specifically for their representation of women as they both have the same TA of women, possibly focusing on young women between 18 and 35 years old. These individuals are all portrayed as different figures in different ways across both adverts.

Dove UK's #MyBeautyMySay Campaign
=the representations discussed below are mainly reinforced through the characters explored and the way that they refuse to conform to stereotypes of what women should act like, do or look like
  • In this advert, eight women are featured (with five named and given their occupation at the end) and all describe how other people view them, with the voiceover "they said" cut in between the women, reflecting how the phrase haunted them.
  • Some of the women are challenging gender stereotypes of particular careers relating to appearances. For example, there is a blonde young woman Heather Hardy who talks about how people said she "was too pretty to fight." In this way, this portrayal of a young woman (particularly of a blonde) feeling confident in pursuing boxing for a living is challenging stereotypes, as boxing may conventionally be seen as a sport for men. Heather is also an aspirational figure for the TA due to her success in her career when she proudly announces at the end of the advert; "I'm ranked number one in the country and number two in the world." This may inspire other young women to pursue their dreams in an 'unladylike' career and succeed fearlessly.
  • There are also women issuing positive messages about body confidence and expectations of beauty such as Rain, a model who says that people have said that she was "boyish and ugly," framed in a MCU and smiling after she says the rude comment that someone told her. This subtle yet important smile portrays how she uses this comment to give herself power rather than to bring herself down

Organic Balance's 'Real Morning Report' Campaign
=in this advert, women's representations are established through the way they differ from women's sterotypical representation on TV adverts
  • The three women featured in the first 15 seconds of the advert are portrayed as distant fairy-tale stories very different from what real women are like.
  • Stereotypes are challenged in this advert through the differing mise-en-scene elements, particularly the bright lighting, spotless sets and extremely perfect-looking costumes and make-up. These women are portrayed as distant realities to real women's lives and are seen going stereotypically 'feminine' things like journaling, doing yoga and eating yogurt with a very small spoon. These representations are very effective as they are a satirical play on the stereotypical woman in an advert, allowing women to laugh and be entertained by the advert, but essentially disagree with the initial representation. Therefore, they would and relate to the women later, who consume the product of the 'Organic Balance' yogurt drink.
  • The women featured in the rest of the advert may prove to have a closer representation to the reality of what women's lives are actually like. However, unlike the Dove advert, these women remain nameless and their occupations are not explicitly stated, but they connect to the TA through the relatability of their morning routines.
  • One particular woman of Asian descent is displayed as a mother, picking up her childrens' toys off the floor while talking straight to camera about research to prove real women's mornings. Her hair is very messy and almost knotty and she doesn't have any noticeable make-up on. This very realistic representation of women is one that many women will be able to relate to and sympathise for.

-Both adverts challenge gender stereotypes
-They do this by either opposing stereotypical roles of women or challenging how conventional adverts represent women through meta-referencing
-In both adverts, women talk directly to camera, addressing the audience directly and explicitly challenging stereotypes
-Both adverts have some emotional appeal, whether it is comedic or emotive
-Different types of women are displayed in both, with varying careers, races and appearances

Tuesday, 23 January 2018

4. What I have learnt about the content and appeal of television adverts and how I intend to demonstrate this knowledge and understanding in my production in order to communicate meaning successfully with the target audience.

My target audience consists of males and females aged between 16 and 25 years old and I will explore how other TV adverts appeal to them below. Through my analysis of a specific TV advert, I will pick out a few features that ensure it appeals to my specific TA and establish common trends.

Uses & Gratifications Theory (theorises how audiences are appealed to in the media)
1. Entertainment/escapism- people use the media to escape daily life and for simple enjoyment
2. Social- people use the media to enhance their social relationships and
3. Identification- people use the media to find relatable or aspirational figures that they can identify with
4. Information- people use the media to become informed and educated

'Face the city and protect your skin with the NEW NIVEA Urban Skin Defence & Detox range'

  • The music is upbeat and fast, 'Miss Campbell' by 'The Shoes Time to Dance (Sebastian Remix)' and makes the advert interesting for the TA. After building up from the beginning when the protagonist is getting ready for her night out, it continues throughout the advert and finally fading out right at the end.
  • Neon lighting is very prominent in the advert and features throughout, with catch-phrases on the walls as the advert advances such as 'Don't wait up for me.' This use of light and phrases would attract the audiences' attention if they saw the advert on TV.
  • The locations used would also be relatable or aspirational to the audience as back-streets of London are used towards the end and if the TA have not been to those areas, they would aspire to go there
  • The protagonist is a blonde young female, possibly in her early 20s, similar to the TA. Although this advert does not challenge stereotypes and essentially shows young women partying, it works to sell her lifestyle and attractive looks, although the product is a face cream.
  • Although there is no specific narrative with a complete lack of voiceover or dialogue in most of the advert, the eye-catching imagery and aspirational lifestyle in the montage style would ultimately be the factors that would persuade the TA to buy the product.

'Get far, fast- RAF No Ordinary Job'
  • This advert also is successful due to its quick-paced montage style of Ellie in various situations. The varied shots for the activities shown mean that 
  • There is no voiceover in this advert either and the protagonist's astonishing lifestyle is portrayed through the montage with essential information on screen in white text
  • The protagonist is a 19 year old female, Ellie, who again reflects the target audience demographic and what they could be doing instead of what they may currently be up to, either in a degree, at work or in school. Ellie is also challenging stereotypes as historically women, especially young women, were not encouraged to join the army and men are stereotypically seen as the people that work there.
  • Although there is a female protagonist, this advert may be targeted at both the male and female demographic as all of the other people seen are male, and her aspirational lifestyle will probably also appeal to them. I have seen this advert on E4, my target channel, so I suspect it is targeted at both genders, perhaps with a slightly favouring females, like the channel.
  • The music also builds up in this advert, starting from the morning where it is quieter and has fewer elements to something more developed. The music always matches the visuals but is in the same style throughout.
  • The locations are also aspirational as they demonstrate her adventurous lifestyle, both with the RAF and in her free-time. This is likely to persuade other people of the TA to choose it by being recruited.

'Lynx Black Casual Styling Clay Presents: Daily Life'
  • In contrast to the previous adverts, this features a voiceover that almost works to speak the protagonists' mind, as there is no actual dialogue in the advert. The voiceover is both comical, comparing a man with too much product looking like "one of the extras of Goodfellas,' and informative, telling the audience how to use the product.
  • The protagonist again reflects the TA of young males, but is the only character seen whereas in the other adverts there is often a main protagonist but their friends are seen too. He is also suggested to be a model so this would be aspirational for men, or their close family and friends
  • The location is also simplistic in this way, as there is only one interior studio setting used
  • This advert works mostly in closer shots, using many medium shots, close-ups and XCUs but only a long shot right at the beginning. These shot distances may be used to pull the audience into the story and show them intricate details of the situation, portrayed both in the videos but also the polaroid imagery.
  • The whole advert is also desaturated in colour, with black & white pictures in between which give it an alternative aesthetic but may establish it as unique when shown on TV in between many other adverts
  • The music is minimalistic and instrumental, with guitars, drums and saxophone but much quieter than the voiceover and is only used to set the atmosphere/tone.

'Vodafone - Network Guarantee'
  • In this 'Vodafone' advert, meaning is conveyed through the repetition of the simple yet effective phrase "YES" as he looks at his phone in delight. Although very simple, many young people would understand the struggle of trying to get network in the middle of no where.
  • Therefore the voiceover is only at the very beginning and end, working together with on-screen text to inform the audience about Vodafone.
  • The main protagonist is a young Caucasian male and his two friends are also reflective of this character, although they have no dialogue and only work as people to react to his craziness. This could again reflect the TA who may struggle to get network on their phones, which are such an important part of a young person's life these days. Their costume also establishes them as regular, relatable characters while the aspirational side of their character comes from the product being advertised
  • The music is very upbeat and instrumental, like the advert before it sets the tone and atmosphere for the whole advert and entering the audience into more of that world, while not distracting from the dialogue or voiceover.
  • There are many locations used, including generic settings of inside the car, the countryside, the living room and the pier of the beach. As well as this, the recognisable 'Millennium Bridge' in London is featured, with the London skyline and the gherkin in the background, which may be more aspirational for the target audience, who may favour cities over the countryside, but struggle to find wifi connection in the rural locations.
  • Due to this advert being 30 seconds long, there is very fast-paced editing between locations and varied shot types with different mise-en-scene elements, including large changes in lighting. The advert cuts directly from an interior high angle of the protagonist with harsh red lighting to a medium shot of him in a domestic interior living room setting.

My Demonstration of this Knowledge to appeal to my TA:
Music: appealing when either instrumental to provide atmosphere/tone, or have meaningful lyrics or a build-up that help the visuals to portray meaning
Voiceover: this is a very common convention, if not throughout the advert then at the end, informing the audience about the product and if used throughout can provide emotive appeal

Protagonist: there is often more than one protagonist to reflect the target audience, and therefore often are of the target audience demographic- their age or gender and is used to create either aspirational or relatable representations of the demographic
Costume: the costume can either be aspirational or relatable to match the representation of the protagonist
Locations: generic locations that the target audience recognise and are aware of are used to appeal to the target audience

Editing: the editing is often in a fast-paced or montage style to attract the attention of and keep the attention of the target audience of young people