Following the research carried out into the Steals of the Season section, myself and Melissa have selected the trends to appear on screen and the trend for the catwalk. This will help with the script as we can now add in the items featured and their prices. This will also help Jemma with the budget for the whole show as there is now an estimated cost for this segment of the show.
I followed the research I did into the trends in order to piece together the outfits in an on trend yet unique way. The budget for this studio section comes to £146.88, however, we may get donations of clothing from people which could reduce this cost. The items will not be purchased until closer to the date of the production as we have not yet received the full budget for the show. If the items become unavailable similar alternatives will be selected. In the meantime, these items will be included in the script and will be updated if any changes in items need to be made.
Thursday, 15 February 2018
'AS LIVE' PRODUCTION: Report Writing
30% Production Role Critical Analysis (2000 words) - quotes 25%
It should include research into studio production and the specific professional role you have undertaken, and how that research informed your actual role and the production.
Teaches the reader about the role and uses the experience of this production as anecdotal evidence to illustrate typical tasks, issues and skills.
It is as much about informing yourself during the production about your methodology and approach as it is a piece of critical writing.
Show the reader that you can critically evaluate your work and that you understand professional approaches and context through a focus on academic referencing throughout.
Demonstrate and evidence that all decisions and critical reflections are informed by research and development by use of appropriate quotations.
e.g. Producer - could be creative side and delegating roles or about script writing
Delivered in a report style - how and why you have chosen to do something - methodology
Must contain relevant research to effectively support your work.
i.e. use relevant quotations and cite using harvard
What to include and structuring;
- draw up a general list of areas you will need to cover - try mind mapping
- tell them what you're going to say (intro), tell them (main body), tell them what you told them (conclusion)
- always write a draft
- work out a logical structure before you start to write
- allows you to explore the subject and to determine a basic logic.
Headings and subheadings:
- headings guide the reader
- Introduction - brief overview of what your report will explore
- My production role-
- Creative methodologies
- Critical reflections
- Conclusion
- Bibliography
- Illustrations
- Appendix
Report format:
- bullet points
- titles, headings and subheadings
- illustrations
- page numbers
- footnotes
- bibliography
- citations through harvard methods
Sources of information:
- people
- books and other publications
- IT/online
- events and places
Style of writing:
- always adopt formal writing style
- argue points as with an essay by providing relevant reliable recognised evidence
- avoid colloquialisms
- assume you are writing for an unknowing audience
- avoid unnecessary repetition or back referencing
- use linking phrases to continue and develop points in new paragraphs.
The report justifies the creative methodologies. Demonstrating professionalism. Show that you can inform decisions through research.
Show report plan - headings / sub headings / likely content / bibliography
It should include research into studio production and the specific professional role you have undertaken, and how that research informed your actual role and the production.
Teaches the reader about the role and uses the experience of this production as anecdotal evidence to illustrate typical tasks, issues and skills.
It is as much about informing yourself during the production about your methodology and approach as it is a piece of critical writing.
Show the reader that you can critically evaluate your work and that you understand professional approaches and context through a focus on academic referencing throughout.
Demonstrate and evidence that all decisions and critical reflections are informed by research and development by use of appropriate quotations.
e.g. Producer - could be creative side and delegating roles or about script writing
Delivered in a report style - how and why you have chosen to do something - methodology
Must contain relevant research to effectively support your work.
i.e. use relevant quotations and cite using harvard
What to include and structuring;
- draw up a general list of areas you will need to cover - try mind mapping
- tell them what you're going to say (intro), tell them (main body), tell them what you told them (conclusion)
- always write a draft
- work out a logical structure before you start to write
- allows you to explore the subject and to determine a basic logic.
Headings and subheadings:
- headings guide the reader
- Introduction - brief overview of what your report will explore
- My production role-
- Creative methodologies
- Critical reflections
- Conclusion
- Bibliography
- Illustrations
- Appendix
Report format:
- bullet points
- titles, headings and subheadings
- illustrations
- page numbers
- footnotes
- bibliography
- citations through harvard methods
Sources of information:
- people
- books and other publications
- IT/online
- events and places
Style of writing:
- always adopt formal writing style
- argue points as with an essay by providing relevant reliable recognised evidence
- avoid colloquialisms
- assume you are writing for an unknowing audience
- avoid unnecessary repetition or back referencing
- use linking phrases to continue and develop points in new paragraphs.
The report justifies the creative methodologies. Demonstrating professionalism. Show that you can inform decisions through research.
Show report plan - headings / sub headings / likely content / bibliography
Tuesday, 13 February 2018
'AS LIVE' PRODUCTION: Camera Workshop with Del
Today we had our first workshop in the studio with Del.
Once all the cameras were matched up, we tried some different activities with the cameras - ones similar to things we could be doing in the live production.
We tried zooming in as far as we could on a small detailed object (e.g. a coin) and seeing if we could maintain focus on it as it moved around. This is useful for if we have any small detailed objects in the show (e.g. detailed fashion accessories) which we want to get extreme close up shots of whilst the model moves around.
We also did a similar activity where we attempted to keep a subject framed and focus as they moved towards the camera. This will be helpful for shots in the show where the presenters or models are moving.
We got back to basics with the cameras to check everyone knew how to frame and focus the cameras before moving into more technical activities.
We set up the cameras ensuring they were white balanced, framed and focused. We did a camera line up pointing at a grey scale chart and then an image of a woman to ensure everyone's cameras were showing the same image with the same colour tones - this is done before a live studio production to make sure all images match as the shots are being live edited by the vision mixer so can not be colour corrected.
The grey scale chart shows all shades of black and white with a black hollow square in the middle. This is the truest black as no light is reflected back out - all light is absorbed in the square.
This is the image of the woman used to check the skin tones of all cameras match.
Once this was done we learnt about racking. We went into the vision control room where the cameras are usually racked. We won't be racking the cameras for our production, instead the camera operators will be manually adjusting the camera settings. In the vision control room, a person can control the exposure of all the cameras - they can open and close the iris to adjust the amount of light let into the camera. They look at a WFM (wave form monitor) to determine how much light is needed.
Once all the cameras were matched up, we tried some different activities with the cameras - ones similar to things we could be doing in the live production.
We tried zooming in as far as we could on a small detailed object (e.g. a coin) and seeing if we could maintain focus on it as it moved around. This is useful for if we have any small detailed objects in the show (e.g. detailed fashion accessories) which we want to get extreme close up shots of whilst the model moves around.
We also did a similar activity where we attempted to keep a subject framed and focus as they moved towards the camera. This will be helpful for shots in the show where the presenters or models are moving.
We then went into the gallery to have a go at vision mixing.
To use the desk, you place your four fingers on the different keys (using the little finger for camera 1, ring finger for camera 2, middle finger for camera 3 and index finger for camera 4). When cutting between cameras you keep your eyes on the screens. The director calls the shots using language such as "standby one" to preview the shot and "cut one" to put the shot to transmission. The right hand is then used to mix with the t bar. I was nervous to vision mix but actually ended up enjoying it - if I hadn't got the role of producer, vision mixing is something I think I would be interested in.
'AS LIVE' PRODUCTION: Draft Script Feedback and Team Updates
Today we showed Helen the rough idea for the script so far. Not all the sections have been scripted yet but there is a good idea for the introduction, the Steals of the Season section and the DIY section.
The main feedback from Helen was that we needed a mission statement for the beginning of the show. We need to explain who we are and what the show sets out to achieve. The same is true of the steals of the season segment - the concept of the segment needs to be established before moving into the trends. The script still needs a lot of work done to it and it needs to be formatted properly into a studio script. I am working on the first half of the script - the intro / teaser, steals of the season and fashion fails - whilst Melissa is working on the second half of the script - old to new, diy and drag - however, we will be looking over each others' halves and providing each other with feedback to ensure the whole tone of the script remains constant.
The rest of the meetings were used to catch up with where the VT teams were.
The Presenter Challenge VT (VT1) has not changed a lot since the idea was first put out. The presenters will go to a high street / shopping centre with a budget and have a limited time to buy each other an outfit. The outfit reveals will then take place in the studio.
Helen suggested that the element of time pressure needs to be emphasised - lots of shots of clock faces and countdowns. The purpose of the VT needs to be established - why are they finding each other outfits? What is the reason behind the challenge? We suggested the purpose of the VT is to show how a whole outfit can be bought on budget but still keep with the current trends. Helen suggested that there needs to be more purpose such as an occasion to be buying the outfit for.
Following the feedback meeting, this VT has now been changed to one presenter going out on the high street to find the other presenter an outfit for a night out with a budget of £30 and a time limit. We initially thought it would be a good idea for the fashion expert to find the outfit but as we wanted this to be a light hearted challenge, we thought it could be more humorous for the 'bubbly presenter' to find the outfit instead. The VT producer now needs to script this VT and then provide the IN and OUT words for our script.
The Fashion Fails VT still needs to be clarified. The idea is to explore the topic of ordering clothing online and the reality being completely different - however, Helen again suggested there needs to be more purpose to the VT - what information are we proving the audience with? Helen suggested a more serious angle, talking about the dangers of shopping online and what trading standards have to say about it.
After this meeting, this VT has developed into a much more informative, documentary style VT. The VT will still be looking at how things ordered online can turn out very different in reality, but we will also be speaking to someone who has experienced this first hand and also finding out what trading standards have to say about the situation.
These meetings were very helpful and we have now established where the teams are with the progression of the ideas. I also have a clearer idea of how to develop the script. There needs to be a clearer idea of the premise of the show and what each section will explore.
The main feedback from Helen was that we needed a mission statement for the beginning of the show. We need to explain who we are and what the show sets out to achieve. The same is true of the steals of the season segment - the concept of the segment needs to be established before moving into the trends. The script still needs a lot of work done to it and it needs to be formatted properly into a studio script. I am working on the first half of the script - the intro / teaser, steals of the season and fashion fails - whilst Melissa is working on the second half of the script - old to new, diy and drag - however, we will be looking over each others' halves and providing each other with feedback to ensure the whole tone of the script remains constant.
The rest of the meetings were used to catch up with where the VT teams were.
The Presenter Challenge VT (VT1) has not changed a lot since the idea was first put out. The presenters will go to a high street / shopping centre with a budget and have a limited time to buy each other an outfit. The outfit reveals will then take place in the studio.
Helen suggested that the element of time pressure needs to be emphasised - lots of shots of clock faces and countdowns. The purpose of the VT needs to be established - why are they finding each other outfits? What is the reason behind the challenge? We suggested the purpose of the VT is to show how a whole outfit can be bought on budget but still keep with the current trends. Helen suggested that there needs to be more purpose such as an occasion to be buying the outfit for.
Following the feedback meeting, this VT has now been changed to one presenter going out on the high street to find the other presenter an outfit for a night out with a budget of £30 and a time limit. We initially thought it would be a good idea for the fashion expert to find the outfit but as we wanted this to be a light hearted challenge, we thought it could be more humorous for the 'bubbly presenter' to find the outfit instead. The VT producer now needs to script this VT and then provide the IN and OUT words for our script.
The Fashion Fails VT still needs to be clarified. The idea is to explore the topic of ordering clothing online and the reality being completely different - however, Helen again suggested there needs to be more purpose to the VT - what information are we proving the audience with? Helen suggested a more serious angle, talking about the dangers of shopping online and what trading standards have to say about it.
After this meeting, this VT has developed into a much more informative, documentary style VT. The VT will still be looking at how things ordered online can turn out very different in reality, but we will also be speaking to someone who has experienced this first hand and also finding out what trading standards have to say about the situation.
These meetings were very helpful and we have now established where the teams are with the progression of the ideas. I also have a clearer idea of how to develop the script. There needs to be a clearer idea of the premise of the show and what each section will explore.
Monday, 12 February 2018
'AS LIVE' PRODUCTION: VT and Promo Meetings
Today we scheduled meetings for both the VT group and the Promo group to see how far they had come along with the ideas.
VT Meeting
The aim for this meeting was to clearly establish how the VTs would run - what exactly their subject matter was, what locations would be needed, what contributors would be needed and what sort of budget would be needed.
Steals of the Season
A challenge between the presenters to find an outfit for each other with a budget of £30.
They go to a high street - given an envelope with the task and then have to set off from there with a time limit and the budget.
They meet back up at the end with the shopping bags in their hands and discuss how they think it went.
Cut back to studio for outfit reveals.
Locations are being researched, however, there are no confirmed locations so far.
The cast will be the presenters.
The budget is at least £60 as each presenter will be given £30 for the outfits.
Fashion Fails
Locations - a studio / background - potentially at Rochester campus
The cast will be models - number of models is undecided
The budget has not been decided but will need to cover the cost of models' expenses and outfits.
VT Meeting
The aim for this meeting was to clearly establish how the VTs would run - what exactly their subject matter was, what locations would be needed, what contributors would be needed and what sort of budget would be needed.
Steals of the Season
A challenge between the presenters to find an outfit for each other with a budget of £30.
They go to a high street - given an envelope with the task and then have to set off from there with a time limit and the budget.
They meet back up at the end with the shopping bags in their hands and discuss how they think it went.
Cut back to studio for outfit reveals.
Locations are being researched, however, there are no confirmed locations so far.
The cast will be the presenters.
The budget is at least £60 as each presenter will be given £30 for the outfits.
Fashion Fails
A documentary style VT exploring how some stores are displaying a certain item for sale and then the customer recieving something completely different.
Information heavy - more serious topic - looking at misrepresenting items online
Hearing someones online fail story - interviewing someone who has experienced this first hand
Finish with 5 tips for how to avoid this happening to you.
Locations - mainly screen recordings and voice over - showing how websites are showing something then product received is different. Also interviewee's house will be another location.
The cast will be a reporter and the interviewee.
The budget has not been decided.
DIY / Independent Online Seller
A tutorial style VT showing how the independent seller makes their own clothes to sell online.
Could either have another reporter - so that the seller is demonstrating to them how to make the clothes whilst the reporter has a go themselves, or can be done just by the seller as a tutorial to camera.
Locations - the seller's house / studio where they make their products.
The cast will be the independent seller and possibly an extra reporter.
The budget has not been decided.
Old To New
A 'lookbook' style video showcasing trends from different eras and how they can be styled today. Can either be done to music or a voice over.
Similar in style to this Buzzfeed video:
The cast will be models - number of models is undecided
The budget has not been decided but will need to cover the cost of models' expenses and outfits.
Promo Meeting
The aim for this meeting was to establish how far the promo team had come with their ideas and what other information they needed so that they could develop their ideas further.
Trailer idea:
Presenters look at mannequin in shop window. Go in to the store then run out with mannequin - hinting at the name Steal the style. Locations are being researched. Rochester are happy to let us use their fashion space.
On top of this, have short 10 second promos for social media with logo and time of show at end.
The style will be kept the same across all promo material - with graphics and colour scheme being a constant feature. Reds, pinks, oranges and whites.
Website has been started and keeps tone of the show. Uses same colour scheme and logo.
Include articles and pictures on website as well as social media accounts.
For promo material - Instagram and Facebook will be used to promote the show. The aspect ratio for the clips for these websites needs to be determined for these so that they can be shot with that in mind. Snapchat may be used for behind the scenes material.
Profile picture for social media accounts will be the show's logo.
I feel that both meetings went well and that people have developed their ideas well. We will have further meetings to discuss the development and changes to the VTs and the promo material.
'AS LIVE' PRODUCTION: Mock Up Studio Production
In order to get us used to our roles and to help us develop our ideas further, Helen set us the task of doing a mock version of a segment of our show.
We decided to pick the introduction with the presenters walking down the catwalk and also the Steals of the Season section (as this is the longest and possibly most complex part of our show.)
Mine and Melissa's job as the producers was to script this part of the show before handing it to the director who could then block out the movement of the presenters and also the movement of the cameras.
We decided to write this together even though this section is in my half of the show - the other sections are not fully developed yet which would make it too difficult for Melissa to write a script for one of the other sections. We started out by writing an audio visual script as this is what we are used to writing - we will use this for the mock production and then work to develop it into a studio script using the correct format.
As neither myself nor Mel had written a studio script before, I had a look at an existing studio script for the game show "Was It Something I Said?". This helped to give me a better understanding of what a studio script should include, what the layout should be like and what language / terminology should be used.
Some terminology from the script:
GFX: Graphics
SEQ: Sequence
APP: Applause
Format of the script:
The actual script / dialogue is written on the right hand side along with the stage directions and sound, whilst the shot number, camera number and visuals / camera shots are detailed on the left hand side. The script also shows that not everything needs to be scripted e.g. [PANEL DISCUSS QUOTE] - as this is something that will be ad libbed whilst recording. This means that in our studio script, for segments such as the interviews, the interviewee's answers should be written in a similar way e.g. [GUEST ANSWERS QUESTION] as this will be ad libbed.
Filming the Mock Production
We filmed the mock production with 3 cameras. We used lecture room 2 and set this up in a similar way to the set design we planned with Del - we had a catwalk area on the right hand side and a soft seated area on the left hand side.
George, the director, blocked out the directions for the presenters and the cameras based on the script we had written. The team then used this blocking to map out how this section of the script works.
The edited mock up:
What I have learnt from doing the mock up:
- The mock up enabled us to see how the script works when put into action - sometimes when scripting dialogue it can look good on paper but not pan out when put into action
- Instead of getting the presenters to ad lib a lot of information, we will script the fashion information and just allow them to ad lib their opinions / reactions to the trends instead.
- It works well to have the camera pan whilst the presenter walks over to the catwalk to describe the trend - in the actual production this will be done with one smooth camera move rather than cutting between cameras.
- Having more cameras for the production will allow us to get a wider variety of shots of the model on the catwalk - we were limited in the number of cameras for this mock up.
- It works well to have the presenters sitting on different sofas either side of where the plasma would be - looks more natural and conversational than having them on the same sofa.
We decided to pick the introduction with the presenters walking down the catwalk and also the Steals of the Season section (as this is the longest and possibly most complex part of our show.)
Mine and Melissa's job as the producers was to script this part of the show before handing it to the director who could then block out the movement of the presenters and also the movement of the cameras.
We decided to write this together even though this section is in my half of the show - the other sections are not fully developed yet which would make it too difficult for Melissa to write a script for one of the other sections. We started out by writing an audio visual script as this is what we are used to writing - we will use this for the mock production and then work to develop it into a studio script using the correct format.
As neither myself nor Mel had written a studio script before, I had a look at an existing studio script for the game show "Was It Something I Said?". This helped to give me a better understanding of what a studio script should include, what the layout should be like and what language / terminology should be used.
Some terminology from the script:
GFX: Graphics
SEQ: Sequence
APP: Applause
Format of the script:
The actual script / dialogue is written on the right hand side along with the stage directions and sound, whilst the shot number, camera number and visuals / camera shots are detailed on the left hand side. The script also shows that not everything needs to be scripted e.g. [PANEL DISCUSS QUOTE] - as this is something that will be ad libbed whilst recording. This means that in our studio script, for segments such as the interviews, the interviewee's answers should be written in a similar way e.g. [GUEST ANSWERS QUESTION] as this will be ad libbed.
Filming the Mock Production
We filmed the mock production with 3 cameras. We used lecture room 2 and set this up in a similar way to the set design we planned with Del - we had a catwalk area on the right hand side and a soft seated area on the left hand side.
George, the director, blocked out the directions for the presenters and the cameras based on the script we had written. The team then used this blocking to map out how this section of the script works.
The edited mock up:
What I have learnt from doing the mock up:
- The mock up enabled us to see how the script works when put into action - sometimes when scripting dialogue it can look good on paper but not pan out when put into action
- Instead of getting the presenters to ad lib a lot of information, we will script the fashion information and just allow them to ad lib their opinions / reactions to the trends instead.
- It works well to have the camera pan whilst the presenter walks over to the catwalk to describe the trend - in the actual production this will be done with one smooth camera move rather than cutting between cameras.
- Having more cameras for the production will allow us to get a wider variety of shots of the model on the catwalk - we were limited in the number of cameras for this mock up.
- It works well to have the presenters sitting on different sofas either side of where the plasma would be - looks more natural and conversational than having them on the same sofa.
Thursday, 8 February 2018
'AS LIVE' PRODUCTION: Research Following the Production Meeting
After the production meeting, I put out a research to be done document along with a research sign up sheet. As well as the group doing the research, I decided to do some research into Steals of the Season as this is the largest segment of the show.
I used some of the existing research as a starting point but then decided to look further into the trends they found so that we can begin to think about how we will style some of these for the 'trends on screen' and the catwalk.
Melissa's research:
One of the trends that seemed to stand out among everyone's research was pastel colours. I decided to do more research into this to see how we could incorporate this into the segment.
The pastel colouring "brings luxury to mind, candies and innocence."[1] This fits with what we aim to achieve with our show - we want to take high end, fashionable clothing and show how this can be affordable and styled different from the mainstream.
I used some of the existing research as a starting point but then decided to look further into the trends they found so that we can begin to think about how we will style some of these for the 'trends on screen' and the catwalk.
Melissa's research:
One of the trends that seemed to stand out among everyone's research was pastel colours. I decided to do more research into this to see how we could incorporate this into the segment.
The pastel colouring "brings luxury to mind, candies and innocence."[1] This fits with what we aim to achieve with our show - we want to take high end, fashionable clothing and show how this can be affordable and styled different from the mainstream.
A Spring / Summer way to style pastels is by pairing the pastel colour with a light neutral colour such as white. As our show is going live in April, we need to target the trends to be worn in the Spring / Summer season.
"Popping on Neutrals: Think a white outfit with a pale pink coat. When the look is a simple colored one, the added pastel really does capture one’s attention and give the whole thing a sweet appeal. A touch of innocence, a touch of summer and a touch of everything sugary place this particular style at the top of your wardrobe designs." [1]
Different pastel colours are also suited towards different skin tones.
People with lighter skin tones are suggested to wear pastel blues and purples to avoid being washed out by the peachier toned pastel colours. Darker skin tones work well with every pastel colour but especially the pinks / peaches as this adds warmth to this complexion. [1]
Another trend that stood out to me was plaid. This is a classic trend which seems to cycle around quite often - therefore this is great for an audience who want affordable fashion - they can buy a plaid item and bring it out whenever the trend cycles round.
A common way of styling plaid is with a simple block colour. The plaid is a statement in itself so only needs to be paired with something very simple e.g. a pair of plaid trousers can be paired with a black t shirt to give an effortless classic look. [1]
However, this may not be the way to go with how we would style plaid in the show as this is quite a mainstream look. It will be difficult to strike a balance between what the audience would feel confident wearing whilst attempting to put together an outfit which really opposes the mainstream.
A more unique way of styling plaid is by clashing two plaid prints together. To pull off this look effectively the colours in each plaid item should compliment each other. The only issue with this is that it is far more out there which means the audience may not have the confidence to wear it. E.g. in this example both plaid pieces have cream and purple colours - however, one item involves more of the purple colour whilst the other involves more of the cream colour. [2]
The trench coat trend is another one which seems to come back into style frequently - again meaning that this is a good affordable option for the audience.
The way in which to style the trench coat is dependent on what style of clothing it has been paired with. If worn with a dress, the belt should be tied behind the back so that the dress is on show. If worn with a jumper and jeans the coat should be tied at the front. To make the coat the statement piece of the outfit it should be worn with all black e.g. with a black dress or black jumper and jeans. [3]
The first trend for men's fashion which interested me was pattern mixing - this has been something to avoid with fashion in the past so I thought it would be interesting to find out how this can be done whilst keeping on trend.
Pattern mixing can be done by mixing different variations of the same pattern of mixing multiple different patterns together. It's important to co ordinate the colours used in the patterns - colours should either compliment each other such as navy blue and cream or they should be tonally similar such as oranges, browns etc. [4]
A popular pattern to mix is checks. This is due to many different sizes of checks being available and therefore are easier to mix. It is recommended that checks should be mixed with different sized checks or other micro prints. [4]
There are three ways to mix stripes together. “The first is to keep them uniform throughout your outfit. The second is to vary the width of the stripes on your trousers and top. And the third is to wear vertical stripes on your torso and horizontal stripes on your legs.” [4] Stripes can also be paired with geometric shapes for a different look.
Below shows an example of how patterns can be mixed using the tones in the clothing. A paisley shirt has been mixed with a check suit - the orange / brown toned colours have remained constant through the items making the outfit work. I like this idea of using tonally similar colours, therefore if we are to use this trend in the show, I would like to do something similar but with lighter, neutral shades for a more Spring / Summer look.
The sportswear trend also stood out as a popular trend for this Summer. Zip up turtlenecks and garments with sporty stripes featured are extremely popular. Lightweight sports jackets are popular as they are ideal for layering in Spring / Summer. They can be paired over a simple outfit (white t shirt and jeans) to give the whole look a sporty, 'athleisure' look. [5]
The final trend I wanted to research was floral shirts as this has always been a bit dreaded by people - we want to break this fear and show how the floral shirt can be styled in a way where the audience feel comfortable but still manage to stand out from the crowd.
One way of wearing the floral shirt is by choosing a loose fitting one and buttoning it up. This can then be paired with jeans. This gives a very summery, casual look and therefore is not too intimidating for the audience to try. [6]
The shirt can also be worn open over a plain t shirt which is either white or compliments the colours in the shirt e.g. a burgundy shirt could be worn under a navy shirt which features a burgundy floral design.
Conducting this research has allowed me to get a clearer idea of which trends we can use in the Steals of the Season section and how we can style them in a way which fits with our pitch - to be an affordable fashion trend which is styled in a way which enables the audience to stand out from the crowd yet still feel comfortable in what they're wearing.
[1] https://glowsly.com/pastel-clothing-trend/
[2] http://dresslikeaparisian.com/how-to-wear-plaid/
[3] https://fustany.com/en/fashion/style-ideas/10-styling-tips-to-wear-a-trench-coat
[4] http://www.fashionbeans.com/article/pattern-mixing-guide/
[5]http://www.fashionbeans.com/2015/mens-athleisure-trend/
[6] https://theidleman.com/manual/advice/how-wear-floral-prints/
The way in which to style the trench coat is dependent on what style of clothing it has been paired with. If worn with a dress, the belt should be tied behind the back so that the dress is on show. If worn with a jumper and jeans the coat should be tied at the front. To make the coat the statement piece of the outfit it should be worn with all black e.g. with a black dress or black jumper and jeans. [3]
The first trend for men's fashion which interested me was pattern mixing - this has been something to avoid with fashion in the past so I thought it would be interesting to find out how this can be done whilst keeping on trend.
Pattern mixing can be done by mixing different variations of the same pattern of mixing multiple different patterns together. It's important to co ordinate the colours used in the patterns - colours should either compliment each other such as navy blue and cream or they should be tonally similar such as oranges, browns etc. [4]
A popular pattern to mix is checks. This is due to many different sizes of checks being available and therefore are easier to mix. It is recommended that checks should be mixed with different sized checks or other micro prints. [4]
There are three ways to mix stripes together. “The first is to keep them uniform throughout your outfit. The second is to vary the width of the stripes on your trousers and top. And the third is to wear vertical stripes on your torso and horizontal stripes on your legs.” [4] Stripes can also be paired with geometric shapes for a different look.
Below shows an example of how patterns can be mixed using the tones in the clothing. A paisley shirt has been mixed with a check suit - the orange / brown toned colours have remained constant through the items making the outfit work. I like this idea of using tonally similar colours, therefore if we are to use this trend in the show, I would like to do something similar but with lighter, neutral shades for a more Spring / Summer look.
The sportswear trend also stood out as a popular trend for this Summer. Zip up turtlenecks and garments with sporty stripes featured are extremely popular. Lightweight sports jackets are popular as they are ideal for layering in Spring / Summer. They can be paired over a simple outfit (white t shirt and jeans) to give the whole look a sporty, 'athleisure' look. [5]
The final trend I wanted to research was floral shirts as this has always been a bit dreaded by people - we want to break this fear and show how the floral shirt can be styled in a way where the audience feel comfortable but still manage to stand out from the crowd.
One way of wearing the floral shirt is by choosing a loose fitting one and buttoning it up. This can then be paired with jeans. This gives a very summery, casual look and therefore is not too intimidating for the audience to try. [6]
The shirt can also be worn open over a plain t shirt which is either white or compliments the colours in the shirt e.g. a burgundy shirt could be worn under a navy shirt which features a burgundy floral design.
Conducting this research has allowed me to get a clearer idea of which trends we can use in the Steals of the Season section and how we can style them in a way which fits with our pitch - to be an affordable fashion trend which is styled in a way which enables the audience to stand out from the crowd yet still feel comfortable in what they're wearing.
[1] https://glowsly.com/pastel-clothing-trend/
[2] http://dresslikeaparisian.com/how-to-wear-plaid/
[3] https://fustany.com/en/fashion/style-ideas/10-styling-tips-to-wear-a-trench-coat
[4] http://www.fashionbeans.com/article/pattern-mixing-guide/
[5]http://www.fashionbeans.com/2015/mens-athleisure-trend/
[6] https://theidleman.com/manual/advice/how-wear-floral-prints/
'AS LIVE' PRODUCTION: Production Meeting 3
- Myself and Melissa are working on the script
- Following the workshop with Del, the set design layout has changed. New set details (e.g. the catwalk and zones) will be sent to set design team.
VT updates:
Presenter challenge- needs more challenge - event, budget, time? Needs more of a pressure element.
Online fails- more serious, documentary style
Promo ideas:
Short trailer - presenters walk past a store, see on trend outfit, steal mannequin out of store - playing into the title of the show - STEAL the style.
Research in for meeting monday, uploaded to google doc in advance
- Transmission date has been moved to 19th March - Thursday
- Everyone to continue researching into segments to nail down content ideas
VT updates:
Presenter challenge- needs more challenge - event, budget, time? Needs more of a pressure element.
Online fails- more serious, documentary style
Promo ideas:
Short trailer - presenters walk past a store, see on trend outfit, steal mannequin out of store - playing into the title of the show - STEAL the style.
Research in for meeting monday, uploaded to google doc in advance
'AS LIVE' PRODUCTION: (Lecture) Methods of Scripting
Studio Scripts:
Two columns
- left hand side - shot number, camera number and shot descriptions
- right hand side - script, stage instructions and sound effects
Shots are amended as letters after the shot no e.g. shot 10 becomes 10a
Camera cards:
- provided to the camera operators so that they can see which shots they are responsible for and the shot description
Top of page has camera number and title of programme
4 columns on camera cards:
- shot no
- area of set feature
- shot description
- any notes
VT Scripts:
Title should match the title on the VT clock and the script
IQ (In Cue) & OQ (Out cue) - first / last words on VT script
Also add in the duration of the VT and CAPGENS (info about captions and when they should appear on the VT)
Each piece of VT should have bars / tone and lock with appropriate idents
Script content:
A decision has to be made as to how much scripted content the programme contains
Welcome, Intro, Outro and links should all be scripted as bare minimum
Short sharp script pieces
Links:
Similarly you presenter can deliver links with take you from one part of the show to the next
Loosely written so presenter can adapt dialogue
Ad libs:
Can leave segments to presenter to ad lib and give guidance on the script and prompt cards to ad lib.
Skilled business and should be rehearsed to ensure - timings work and basic idea for ad lib is established and confident
Ad libbing has the advantage of feeling natural and free flowing - however can feel unprofessional
Presenters need to be well briefed and prepared for ad libs
Timings:
Many elements of the script will necessitate approximate timings
Keep on top of timings throughout
PA working out how much time must be added / lost from subsequent items if things under or over run
Running order - constantly changes throughout pre production - VTs may run longer or shorter than initially planned
Need areas to manipulate if sections under or over run
Scripts need to be:
Factually accurate
Well written
Concise
Tone of voice
Write to pictures
Write to time
Allow for breaths
Has a logical structure
Workshop - due 01/03/2018:
VTs
Its add value to the studio production
Provide talking points / background info
Illustrative - adding explanation to help the show
Add variety
Location opportunities beyond the studio
Beyond the studio content:
practical
entertainment
informative
variety
The VT should feel part of the rest of the programme - style / approach
It should add to the studio content and have a specific purpose
Entertaining and creative
Comprehensible and comprehensive
Quality should be consistent with the rest of the programme
- production values
- technical quality - picture and sound quality, lighting etc.
- performance
Research and recce
Locations and paperwork
Casting / contributors and paperwork
Scripting
What makes a good VT?
Winterwatch:
VT needs good top line - e.g. VT - surviving the cold in the mountains
There's a why to the story
Pull VT content into the main show - VT to help push story forward
Linking to VT:
Introducing presenter
Music over top
Establishing shot
The One Show:
Coming ups
Welcome guest - look at their background work then introduce them on sofa
Essentials:
- Accuracy
- Branding / Tone
- Clarity
- Layout / composition - 16:9 safe zone
- Font
- Purpose
- Synergy - images/words - spoken and onscreen
Text:
Simple
Limit number of fonts used
Letter less than 1/10 screen height is difficult to read
Outlines and drop shadows
Leave space between title lines of about 1/2 to 2/3 of height of capital letters
Ensure lettering contrasts well with background
Don't put too much text on screen at once
On screen time - read it twice - need a long enough MCU (caption on MCUs)
Design shouldn't overrule function
Simple colour background
Use video grabs
Defocused clips
Two columns
- left hand side - shot number, camera number and shot descriptions
- right hand side - script, stage instructions and sound effects
Shots are amended as letters after the shot no e.g. shot 10 becomes 10a
Camera cards:
- provided to the camera operators so that they can see which shots they are responsible for and the shot description
Top of page has camera number and title of programme
4 columns on camera cards:
- shot no
- area of set feature
- shot description
- any notes
VT Scripts:
Title should match the title on the VT clock and the script
IQ (In Cue) & OQ (Out cue) - first / last words on VT script
Also add in the duration of the VT and CAPGENS (info about captions and when they should appear on the VT)
Each piece of VT should have bars / tone and lock with appropriate idents
Script content:
A decision has to be made as to how much scripted content the programme contains
Welcome, Intro, Outro and links should all be scripted as bare minimum
Short sharp script pieces
Links:
Similarly you presenter can deliver links with take you from one part of the show to the next
Loosely written so presenter can adapt dialogue
Ad libs:
Can leave segments to presenter to ad lib and give guidance on the script and prompt cards to ad lib.
Skilled business and should be rehearsed to ensure - timings work and basic idea for ad lib is established and confident
Ad libbing has the advantage of feeling natural and free flowing - however can feel unprofessional
Presenters need to be well briefed and prepared for ad libs
Timings:
Many elements of the script will necessitate approximate timings
Keep on top of timings throughout
PA working out how much time must be added / lost from subsequent items if things under or over run
Running order - constantly changes throughout pre production - VTs may run longer or shorter than initially planned
Need areas to manipulate if sections under or over run
Scripts need to be:
Factually accurate
Well written
Concise
Tone of voice
Write to pictures
Write to time
Allow for breaths
Has a logical structure
Workshop - due 01/03/2018:
VTs
Its add value to the studio production
Provide talking points / background info
Illustrative - adding explanation to help the show
Add variety
Location opportunities beyond the studio
Beyond the studio content:
practical
entertainment
informative
variety
The VT should feel part of the rest of the programme - style / approach
It should add to the studio content and have a specific purpose
Entertaining and creative
Comprehensible and comprehensive
Quality should be consistent with the rest of the programme
- production values
- technical quality - picture and sound quality, lighting etc.
- performance
Research and recce
Locations and paperwork
Casting / contributors and paperwork
Scripting
What makes a good VT?
Winterwatch:
VT needs good top line - e.g. VT - surviving the cold in the mountains
There's a why to the story
Pull VT content into the main show - VT to help push story forward
Linking to VT:
Introducing presenter
Music over top
Establishing shot
The One Show:
Coming ups
Welcome guest - look at their background work then introduce them on sofa
Essentials:
- Accuracy
- Branding / Tone
- Clarity
- Layout / composition - 16:9 safe zone
- Font
- Purpose
- Synergy - images/words - spoken and onscreen
Text:
Simple
Limit number of fonts used
Letter less than 1/10 screen height is difficult to read
Outlines and drop shadows
Leave space between title lines of about 1/2 to 2/3 of height of capital letters
Ensure lettering contrasts well with background
Don't put too much text on screen at once
On screen time - read it twice - need a long enough MCU (caption on MCUs)
Design shouldn't overrule function
Simple colour background
Use video grabs
Defocused clips
Wednesday, 7 February 2018
'AS LIVE' PRODUCTION: (Research) Audience for E4
Following the pitch, our target audience has changed to E4. So that the tone and branding of our show fits E4's values and audience demographic, I decided to do some research into E4.
Finding information on E4 proved to be difficult but eventually I found a research and insight document put together by Channel 4 to showcase the statistics and figures of their different channels (including E4).
The main findings from this research were:
- E4 is popular in the 16-34 age range - we need to ensure our programming is targeted towards this audience. We pitched Steal The Style to a target audience of 16-50 year olds - the majority of this is included in E4's target audience - however, E4 still shows to have some interest with people above their core age range meaning our show should still appeal to our whole original target audience.
- Our show will appeal to all ages outlined in the target audience by featuring fashion trends for both older and younger people (or showing how specific trends can be styled differently to suit different ages).
- "brilliant comedy" suggests that the tone of the programming for E4's platform must be light-hearted, entertaining and comical - we need to embody this in Steal The Style by making the conversation between the presenter comical by having banter between them and also with the audience
- "E4 is more than just an entertainment brand, it's a lifestyle" - our show needs to feed into this lifestyle by incorporating the values of E4.
- We pitched for our show to have a presenter with a similar personality to Georgia Toffolo - a cast member of the E4 show Made In Chelsea - this should help our programme appeal to E4's target audience as she has proved to be successful on Made In Chelsea and so someone with a similar personality should have similar success with our show.
Resource:
https://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0ahUKEwjBoYjWlt3ZAhVQF8AKHVodCSoQFggpMAA&url=http%3A%2F%2Fwww.channel4.com%2Fmedia%2Fdocuments%2Fcommissioning%2FRESEARCH%2FResearchPowerPoint.ppt&usg=AOvVaw0Ruc8C5vIgUn1gd8gBzJSX
Finding information on E4 proved to be difficult but eventually I found a research and insight document put together by Channel 4 to showcase the statistics and figures of their different channels (including E4).
The main findings from this research were:
- E4 is popular in the 16-34 age range - we need to ensure our programming is targeted towards this audience. We pitched Steal The Style to a target audience of 16-50 year olds - the majority of this is included in E4's target audience - however, E4 still shows to have some interest with people above their core age range meaning our show should still appeal to our whole original target audience.
- Our show will appeal to all ages outlined in the target audience by featuring fashion trends for both older and younger people (or showing how specific trends can be styled differently to suit different ages).
- "brilliant comedy" suggests that the tone of the programming for E4's platform must be light-hearted, entertaining and comical - we need to embody this in Steal The Style by making the conversation between the presenter comical by having banter between them and also with the audience
- "E4 is more than just an entertainment brand, it's a lifestyle" - our show needs to feed into this lifestyle by incorporating the values of E4.
- We pitched for our show to have a presenter with a similar personality to Georgia Toffolo - a cast member of the E4 show Made In Chelsea - this should help our programme appeal to E4's target audience as she has proved to be successful on Made In Chelsea and so someone with a similar personality should have similar success with our show.
Resource:
https://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0ahUKEwjBoYjWlt3ZAhVQF8AKHVodCSoQFggpMAA&url=http%3A%2F%2Fwww.channel4.com%2Fmedia%2Fdocuments%2Fcommissioning%2FRESEARCH%2FResearchPowerPoint.ppt&usg=AOvVaw0Ruc8C5vIgUn1gd8gBzJSX
Tuesday, 6 February 2018
'AS LIVE' PRODUCTION: Workshop / Lecture & Developing The Structure with Del & Running Order 1
TX = pm - 1400 - 1430
13th feb, 27th feb, 6th march, 13th march, 20th march, 10th april, 18th april, 19th april - Rehearsal
Presenter interviews / auditions - Jack & Producers organise
Ideas of how the show will work so far:
Opening titles - graphics or VT - 30 seconds - sound SOT
Establishing shot to start - to show audience whole set
Presenters walk down catwalk intro show
Teaser - what's to come up in the show
Presenters sat on sofa - discuss trends of the week
Trends of week - show 3 trends on screen and talk
Walk over to catwalk whilst talking
Trends styled 2 ways - older younger
1 at time the models come out wearing the trend. Then both models at end come down together to show the trend styled for younger and older.
Back to sofa - walk and talk
Male trends - 3 trends shown on screen
Male catwalk (same way as female catwalk)
Link to VT - presenters do challenge - find outfit for each other from high street stores - with budget
Mannequins of outfits in middle - talk about what they picked and why and whether they like the outfits
Live walk to soft area
Sting
Fashion fails - audience member - handheld camera - on screen as well - handheld mic - pictures of the item they're talking about?? Or bring in the item?
Repeat for one more person - interesting people with interesting clothing fails
VT - online clothing fails - expectations vs reality of ordering cheap things online e.g. ordering a pair of trousers and they end up being barbie trousers etc.
Back to studio - trainers on table
Old to new - dad trainers
Soft area - talking about the fashion of dad trainers / what inspired this look / music influences etc. - figure out the whole story
VT - decide how its going to link in - something to do with fashion from different eras / dad trainers / fashion from music / fashion from tv / film
DIY / Independent Stores - interview on sofa with independent seller
VT - DIY reporter and independent seller doing step by step DIY
Link back to studio - presenters stood by catwalk
Drag Catwalk - drag queen who has made their own dress - interview drag queen on their outfit, why they wear it etc - links from VT
Old to new - dad trainers
Soft area - talking about the fashion of dad trainers - figure out the whole story
VT - decide how its going to link in - something to do with fashion from different eras / dad trainers
Thank all contributors - all of them come back out
Thank you for watching, goodnight
Final Structure:
Opening titles
Welcome from presenters
Additional Teaser VT - silhouette drag act (secret)
1. Steals of the season
3 trends women
2 models catwalk
3 trends men
2 models catwalk
VT - Challenge between presenters
Mannequins - talk about outfits
2. Fashion fails - interview audience - 2 members
Handheld camera in audience, picture being broadcast on the plasma screen - talk about the fashion fails they have experienced.
VT - Online fashion fails
3. Old to New / Dad Trainers - catwalk
Discussing how these have come back into fashion. Influences from eras / music / tv / film
VT - ??
4. DIY / Independent Seller / Etsy - interview on sofa
VT - doing the DIY - presenters and etsy person
5. Drag catwalk
6. Thank all contributors
7. Goodbye
Credits
Whilst determining the structure of the show, we also thought more about how the set design should compliment this.
We have decided to incorporate a catwalk into the set, coming in from the back walk towards the right hand side.
The soft area / cosy chair area will then be on the left hand side.
The catwalk will allow us to display the trends on the models.
The soft area allows space to hold interviews / discuss trends.
This is a rough plan of how the set will look.
Digital version of the new set:
Running order:
What I have learnt from todays session:
- I need to be more confident with my ideas - this was holding us back from getting a final structure. I feel that I have developed this confidence today by voicing my ideas and listening to other people's feedback. We managed to take a couple of ideas and merge them together e.g. Old To New and Music Fashion have now become one topic. We also managed to come up with a completely new idea in the form of a drag act coming down the catwalk. This will help lift the show and help set the tone of the show. We need to make sure the rest of the show is delivered in such a way that the drag act doesn't seem out of place - we need to make the tone of the show consistent.
- I have become more confident voicing my opinions - suggesting what will and won't work from other people's ideas which I feel is a key trait for a producer. Previously I have not been keen handling a role with a lot of responsibility but I am becoming more comfortable being a producer and performing the tasks that are given to me (e.g. today's task was to nail down the content of the show which was mainly down to me and my co producer Mel - with contributions from the others - and we completed it).
- I feel that there is much more direction with the idea now - now that we have a solid structure, we can fill the sections with content - we have time limits to stick to which will make it easier to determine how much we can put in each section.
- We now need to develop the sections further - this involves splitting people back up into research groups and giving out different areas to look into. This will help us determine the content of the show. We need to know exactly what we want the steals of the season to be, we need to know what else we want to mention in the old to new section etc.
13th feb, 27th feb, 6th march, 13th march, 20th march, 10th april, 18th april, 19th april - Rehearsal
Presenter interviews / auditions - Jack & Producers organise
Ideas of how the show will work so far:
Opening titles - graphics or VT - 30 seconds - sound SOT
Establishing shot to start - to show audience whole set
Presenters walk down catwalk intro show
Teaser - what's to come up in the show
Presenters sat on sofa - discuss trends of the week
Trends of week - show 3 trends on screen and talk
Walk over to catwalk whilst talking
Trends styled 2 ways - older younger
1 at time the models come out wearing the trend. Then both models at end come down together to show the trend styled for younger and older.
Back to sofa - walk and talk
Male trends - 3 trends shown on screen
Male catwalk (same way as female catwalk)
Link to VT - presenters do challenge - find outfit for each other from high street stores - with budget
Mannequins of outfits in middle - talk about what they picked and why and whether they like the outfits
Live walk to soft area
Sting
Fashion fails - audience member - handheld camera - on screen as well - handheld mic - pictures of the item they're talking about?? Or bring in the item?
Repeat for one more person - interesting people with interesting clothing fails
VT - online clothing fails - expectations vs reality of ordering cheap things online e.g. ordering a pair of trousers and they end up being barbie trousers etc.
Back to studio - trainers on table
Old to new - dad trainers
Soft area - talking about the fashion of dad trainers / what inspired this look / music influences etc. - figure out the whole story
VT - decide how its going to link in - something to do with fashion from different eras / dad trainers / fashion from music / fashion from tv / film
DIY / Independent Stores - interview on sofa with independent seller
VT - DIY reporter and independent seller doing step by step DIY
Link back to studio - presenters stood by catwalk
Drag Catwalk - drag queen who has made their own dress - interview drag queen on their outfit, why they wear it etc - links from VT
Old to new - dad trainers
Soft area - talking about the fashion of dad trainers - figure out the whole story
VT - decide how its going to link in - something to do with fashion from different eras / dad trainers
Thank all contributors - all of them come back out
Thank you for watching, goodnight
Final Structure:
Opening titles
Welcome from presenters
Additional Teaser VT - silhouette drag act (secret)
1. Steals of the season
3 trends women
2 models catwalk
3 trends men
2 models catwalk
VT - Challenge between presenters
Mannequins - talk about outfits
2. Fashion fails - interview audience - 2 members
Handheld camera in audience, picture being broadcast on the plasma screen - talk about the fashion fails they have experienced.
VT - Online fashion fails
3. Old to New / Dad Trainers - catwalk
Discussing how these have come back into fashion. Influences from eras / music / tv / film
VT - ??
4. DIY / Independent Seller / Etsy - interview on sofa
VT - doing the DIY - presenters and etsy person
5. Drag catwalk
6. Thank all contributors
7. Goodbye
Credits
Whilst determining the structure of the show, we also thought more about how the set design should compliment this.
We have decided to incorporate a catwalk into the set, coming in from the back walk towards the right hand side.
The soft area / cosy chair area will then be on the left hand side.
The catwalk will allow us to display the trends on the models.
The soft area allows space to hold interviews / discuss trends.
This is a rough plan of how the set will look.
Digital version of the new set:
Running order:
What I have learnt from todays session:
- I need to be more confident with my ideas - this was holding us back from getting a final structure. I feel that I have developed this confidence today by voicing my ideas and listening to other people's feedback. We managed to take a couple of ideas and merge them together e.g. Old To New and Music Fashion have now become one topic. We also managed to come up with a completely new idea in the form of a drag act coming down the catwalk. This will help lift the show and help set the tone of the show. We need to make sure the rest of the show is delivered in such a way that the drag act doesn't seem out of place - we need to make the tone of the show consistent.
- I have become more confident voicing my opinions - suggesting what will and won't work from other people's ideas which I feel is a key trait for a producer. Previously I have not been keen handling a role with a lot of responsibility but I am becoming more comfortable being a producer and performing the tasks that are given to me (e.g. today's task was to nail down the content of the show which was mainly down to me and my co producer Mel - with contributions from the others - and we completed it).
- I feel that there is much more direction with the idea now - now that we have a solid structure, we can fill the sections with content - we have time limits to stick to which will make it easier to determine how much we can put in each section.
- We now need to develop the sections further - this involves splitting people back up into research groups and giving out different areas to look into. This will help us determine the content of the show. We need to know exactly what we want the steals of the season to be, we need to know what else we want to mention in the old to new section etc.
Friday, 2 February 2018
DISSERTATION: How To Write the Proposal
Introduction:
- needs to be clear to follow
- clearly establish themes and issues that will be discusses
- points clearly linked together, developed and structured well
- introduce themes and ideas clearly & neatly
Conclusion:
- enough depth summarising key findings and return to address the question
- clearly draw together main arguments made and address the question title
- summarise key findings
Structure:
- new argument point = new paragraph
- signposting and transitions need to ensure the reader is logically guided through
- logically divide up the arguments made
Formatting:
- Harvard
- Pages numbered, indented and line and a half spacing using with 12pt font throughout, expect longer quotes which should be single spaced
- Bibliography alphabetical by surname of author / source
Analysis, evidence and argument:
- rely on many relevant theoretical texts
- depth and breath of sources and ideas to inform and develop your argument points and clearly address / makes connection to the question
- avoid being too descriptive for too long
- avoid referring to yourself and own viewpoints
- avoid describing differences between films & concepts without the use of theory to explore why this might happen / is significant to your thinking / approach
- avoid utilising arguments to make your own points - use referenced materials as a way of providing evidence
- avoid arguments being too difficult to follow
- make sure evidence clearly links with the points being made
- avoid generalised assumptions
- avoid subjectivity and vagueness
- needs to be clear to follow
- clearly establish themes and issues that will be discusses
- points clearly linked together, developed and structured well
- introduce themes and ideas clearly & neatly
Conclusion:
- enough depth summarising key findings and return to address the question
- clearly draw together main arguments made and address the question title
- summarise key findings
Structure:
- new argument point = new paragraph
- signposting and transitions need to ensure the reader is logically guided through
- logically divide up the arguments made
Formatting:
- Harvard
- Pages numbered, indented and line and a half spacing using with 12pt font throughout, expect longer quotes which should be single spaced
- Bibliography alphabetical by surname of author / source
Analysis, evidence and argument:
- rely on many relevant theoretical texts
- depth and breath of sources and ideas to inform and develop your argument points and clearly address / makes connection to the question
- avoid being too descriptive for too long
- avoid referring to yourself and own viewpoints
- avoid describing differences between films & concepts without the use of theory to explore why this might happen / is significant to your thinking / approach
- avoid utilising arguments to make your own points - use referenced materials as a way of providing evidence
- avoid arguments being too difficult to follow
- make sure evidence clearly links with the points being made
- avoid generalised assumptions
- avoid subjectivity and vagueness
Thursday, 1 February 2018
'AS LIVE' PRODUCTION: Set Design Pitch
Today myself and Melissa had to pitch to the set design team in Rochester. As the team have to come up with the design for the set themselves, we decided not to show them our idea for the set. Instead we provided them with a brief overview of what the show is about, what sort of atmosphere / look we want the show to have and the dimensions that would work in the studio.
Myself and Melissa are very keen to have a light, bright, homely set that has a similar feel to the Urban Outfitters / anthropologie homeware vibe. This feel suits our show as these companies have quite unique, anti mainstream tastes which is the same as the premise for our show - we aim to show anti mainstream fashion trends.
The pitch includes some mood boards which contain some images of the Urban Outfitters / Anthropologie look we aim to go for. Were also keen to have lights and plants incorporated in the set to add to the homely feel.
At the end of the pitch we outlined some of the key features we needed including in the set e.g. chairs for the interview sections. We aimed to give the set design team enough guidance so that they understood what look we wanted to go for and what we required within the set whilst giving them enough freedom to put their own spin on our idea.
Myself and Melissa are very keen to have a light, bright, homely set that has a similar feel to the Urban Outfitters / anthropologie homeware vibe. This feel suits our show as these companies have quite unique, anti mainstream tastes which is the same as the premise for our show - we aim to show anti mainstream fashion trends.
The pitch includes some mood boards which contain some images of the Urban Outfitters / Anthropologie look we aim to go for. Were also keen to have lights and plants incorporated in the set to add to the homely feel.
At the end of the pitch we outlined some of the key features we needed including in the set e.g. chairs for the interview sections. We aimed to give the set design team enough guidance so that they understood what look we wanted to go for and what we required within the set whilst giving them enough freedom to put their own spin on our idea.
'AS LIVE' PRODUCTION: (Lecture) Production Management
What is production management?
- manage productions
- takes minutes from meetings - notes down all stages of production
- attends all production meetings / stages throughout production
- managing people - middle man between crew and producer
- look after budget
- scheduling
- contracts & agreements - crew, music licenses, locations, release forms, cost reporting
- getting best deal for studio / location
- rights negotiations
- project management / call sheets
- insurance / health and safety / risk assessments
- keeping across the latest technology & channel tech specs
- cross platform considerations (frame rates / graphics / green screen)
- Intellectual Property (IP), Archive clearances music / painting etc.
Production mistakes:
- never leave things to the last minute
- not delegating
- over delegating
- hoarding information
- not knowing the role
- not working with their team
- when they think they know best
Make a schedule and stick to it
Create call sheets
Risk assessments / safety
Contact Lists / book staff
Are you on budget
Release forms
Tech specs
Collating floor plans, lighting plans etc
Communication is key
Filming on location:
Access / permission
What are the risks? Do you need health and safety?
Can you rig lighting / add props etc
Height restrictions?
Power sources
Parking
Feeding cast and crew
Where is it in relation to other filming places
Release forms?
Is it accessible?
Will you have to deal with the public?
Wifi?
Sound issues? Air con, flight path, fridges, music playing, other external noises
Conflicting events
Pictures of where you are going / maps
Nearest toilets / changing rooms
Take pictures of locations
Filming abroad:
Find a good fixer and sound them out. There are good ones and bad ones - get them to sign anti bribery clause (BBC)
Baggage allowance
If at the BBC - contact the IFA (International Filming Advice) - tell them where you are filming and they will give you advice. If not, speak to the embassy / ask the relevant FB groups on working abroad.
Equipment - sort out a carnet
Visas / permits - speak to fixers to find out if permits are needed.
Book flights as far in advance as you can
More you prep - easier it is - organise tech recces
Make each day count - make sure have correct insurances
Studio hire:
Studio hire is costly
Wet hire (crew provided) & Dry hire (no crew)
What does the quote include?
How much lighting - power costs? 35p per Kwh
What crew is included and do you need them all?
Are there any restrictions? Many london studios won't let set be delivered at night
Budget:
Staff costs
Studio costs
Post production costs
Props scenery etc
Expenses
Create problem solver
Calm under pressure
Great negotiator
Diplomatic
An ace communicator
Team player
- manage productions
- takes minutes from meetings - notes down all stages of production
- attends all production meetings / stages throughout production
- managing people - middle man between crew and producer
- look after budget
- scheduling
- contracts & agreements - crew, music licenses, locations, release forms, cost reporting
- getting best deal for studio / location
- rights negotiations
- project management / call sheets
- insurance / health and safety / risk assessments
- keeping across the latest technology & channel tech specs
- cross platform considerations (frame rates / graphics / green screen)
- Intellectual Property (IP), Archive clearances music / painting etc.
Production mistakes:
- never leave things to the last minute
- not delegating
- over delegating
- hoarding information
- not knowing the role
- not working with their team
- when they think they know best
Make a schedule and stick to it
Create call sheets
Risk assessments / safety
Contact Lists / book staff
Are you on budget
Release forms
Tech specs
Collating floor plans, lighting plans etc
Communication is key
Filming on location:
Access / permission
What are the risks? Do you need health and safety?
Can you rig lighting / add props etc
Height restrictions?
Power sources
Parking
Feeding cast and crew
Where is it in relation to other filming places
Release forms?
Is it accessible?
Will you have to deal with the public?
Wifi?
Sound issues? Air con, flight path, fridges, music playing, other external noises
Conflicting events
Pictures of where you are going / maps
Nearest toilets / changing rooms
Take pictures of locations
Filming abroad:
Find a good fixer and sound them out. There are good ones and bad ones - get them to sign anti bribery clause (BBC)
Baggage allowance
If at the BBC - contact the IFA (International Filming Advice) - tell them where you are filming and they will give you advice. If not, speak to the embassy / ask the relevant FB groups on working abroad.
Equipment - sort out a carnet
Visas / permits - speak to fixers to find out if permits are needed.
Book flights as far in advance as you can
More you prep - easier it is - organise tech recces
Make each day count - make sure have correct insurances
Studio hire:
Studio hire is costly
Wet hire (crew provided) & Dry hire (no crew)
What does the quote include?
How much lighting - power costs? 35p per Kwh
What crew is included and do you need them all?
Are there any restrictions? Many london studios won't let set be delivered at night
Budget:
Staff costs
Studio costs
Post production costs
Props scenery etc
Expenses
Create problem solver
Calm under pressure
Great negotiator
Diplomatic
An ace communicator
Team player
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