Broadcast: Final Products

All the Broadcast products which I have created have the intention of promoting a new lifestyle programme, with the concept of all being homemade crafts, to my target audience. The Broadcast pieces are TV Spots which will be featured on Channel 4.

TV Spot 1:

TV Spot 2:


TV Spot 3:


TV Spot 4:

Broadcast: Before and After Screenshots of Production

Throughout the production and editing process I took screenshots of how I used the Software (iMovie on Apple Macbook).

This is a screenshot showing the clips before I edited them to form the final productions:

As it can be seen, the clips are not linked together or have any music, text or transitions. The larger screen is where I can view the progress of my broadcast product as I edit it, allowing for me to notice errors and make improvements. I created a new 'project' for each broadcast production.

I began the editing process by 'dragging' the material which I required to be in the first TV Spot in an orderly fashion to the 'timeline' below the imported clips. This screenshot shows the beginning of me ordering the clips for my first broadcast production. I simply just dragged the material from the 'clip bank' (seen above) to the bottom timeline.

After I had ordered the clips, I began to crop them in order to get rid of any unwanted dialogue or filming. To do this I positioned the yellow bar around the parts of the clip which I wanted to keep. The process is shown below for one of the clips:

The clip then trimmed down to the material which I wanted to be shown in the broadcast production (an example of how the media is a representation of life).

After I had done this for each clip, I began to add transitions. This is done by clicking on the transitions tab, and dragging the preferred transition in between two clips. The transition tab pops up on the left hand side, allowing for easy dragging to the timeline. i experimented with the different transitions for each clip. I found that 'Cross Zoom' suited clips which were transitioning into a Close Up/ Medium Close Up, for the further away shots or ones in the same setting, I decided upon 'Cross Blur' which was the nearest to merging the clips together.

Rather like the 'Trimming' of the clips, I could do the same for transitions and change the duration:

I was also able to change the precision of the clips and the transitions, using the 'Precision Editor'. This allowed me to alter the positioning of the transition alongside the clips:

After editing the clips together, I added the audio to the 'timeline'. This was simple as I was only required to select the audio which I wanted and then drag it from the audio tab (on the left) to the timeline itself (on the right). The screenshot shows how I applied the background music to the production (for background music I dragged the track over the whole of the timeline in order to apply it to all of the clips):

I changed the volume of the music in order for the clips to be heard. This window came up when I clicked on the edit button for the background music. I adjusted the slider to 10% volume from 100%.

For two of my productions, I had included non-diegetic audio: The process is shown below:

1. I first had to convert the .amr file to .mp3 because Itunes would not support the .amr format. I did this by downloading a converter which instantly converted the files. After, I dragged the media.mp3 file (on the right) from 'My Documents' to Itunes (on the left):

2. This then allowed me to access the audio through itunes on iMovie

3. I dragged the audio from the tab onto the clip which I wanted the audio to play over

4. However I needed to edit the audio clip by cropping the length, in order to extract the audio which I desired to be featured in the clip. The cropping is shown below. The audio now fits within the time of the clip.

 I applied the same method of adding audio to the sequence for each other non-diegetic audio which I had drafted in my storyboards.

In order to direct the audience to which institution the programme is broadcast by and when the new programme will start I created a short 'information clip' to put at the end of the sequence. The process is shown in the screenshots below:

1. I clicked on the 'Text' tab in order to choose from a selection of title positioning

2. I chose the 'Upper' option, which opened a window with colour options. However as I am using an image as the background, the colour did not matter.

3. The text and font change option was then displayed on the movie viewer, from which I could alter the text and font colour, style and size.

4. I entered the text and altered the fonts. I chose purple as the font colour because it is a colour often used by the Channel 4 institution, thus tying in with their house style. Also I chose a basic, but slightly 'funky' font in order for the information to be relayed simply but, at the same time, have a unique edge to it- fitting in with the craft hobby of the target audience.

5. After this, I clicked 'Done' and added the image from my files. This was done by dragging the image onto the clip

6. I was then presented with these options, and I selected 'Replace' in order to make the whole clip background the image.

7. This is the resulting timeline (I added a transition at the end of the last clip in order to gradually fade out the sequence, rather than being an abrupt finish)

8. This is the resulting 'information clip:

I decided to use the same ending transition and 'information clip' in all of the sequence productions in order to show that each separate TV Spot is part of one programme.

I used the same sequence of editing for each of my four productions. This allowed me to ensure that I had included all which I intended to, and address the editing in an orderly, precise manner.

Broadcast: Annotations of the Storyboards

Here I have uploaded the final storyboards for my four Broadcast productions. Along with the images I have explained the choices of location, camera shots and angles, costume, sound, lighting and props.

Costume: Throughout all of the storyboards, the presenter wears the same costume: blue jeans, darker blue top with a design on, black jacket (if outdoors)and white converses.This allows the TV Spot to look continual and in form with each other. I decided upon this costume by asking the 'presenter' what she wears on a day to day basis. This is because, in the Lifestyle programmes which I researched (Kirstie's Handmade Britain, Alan Titchmarsh's Garden Secrets and Paul Hollywood's Pies and Puds) the presenters all wore casual, slightly smart, clothing that looked as if it was there own. Therefore I asked the presenter of my show what she wore usually and decided for that to be her costume- in order to reflect how other presenters are dressed in Lifestyle programmes. The casual look may also attract the demographic categories from B and below because those in the B category are likely to see the casualness as a contrast to professional dress in the work life and thus use the programme as a means of escapism (Uses and Gratifications). Those is the lower categories may identify with the casual dress and so feel part of the programme community, thus playing on the desire to belong (Maslow's Hierarchy of Needs).

Lighting: Also throughout the storyboards, the lighting is natural. This is because the use of natural lighting accompanies the effort to make the programme appear to be as close to lifestyle as possible. Media productions are an intentional  representation of life, rather than real life, therefore as my programme is to be in the lifestyle genre I used natural lighting to enhance the reality of the programme. The lifestyle programme which I have researched also appear to use natural lighting, indicating that natural lighting is a typical convention of the lifestyle genre. I did ensure, however, that filing would be on bright days in order to create a desired light atmosphere to the TV spots. This is because bright lighting is likely to attract females, who stereotypiclly prefer happier and more laid back programmes to males (such as sci-fi or horror)- which the bright lighting gives a feel of.

Sound: In all of the storyboards, I have decided to use the same non-diegetic background music. The background music is to be upbeat, instrumental and cheery. This is to apply to the craft theme of the show and also attract the desired target audience. The target audience is to have an interest in craft and have the psychographic of explorers and aspirers. The upbeat and cheeriness of the music is likely to uplift the target audience, putting them in their innate mind set of exploration and aspiration and thus evoking the desire to participate in the programme. It may also be that the music gives desired connotatations of craft and uniqueness which will apply to the target audience. Furthermore the music is likely to be enjoyed more by the target age range of 26-30 because, stereotypically, at a maturer age instrumental music i more enjoyed than at a younger age. However the facts that the music still contains a 'funky' element places the appeal solely on this age range whereas anyone older may prefer something calmer. Therefore the music is designed to attract the target age range. The music is to be non-diegetic because in the lifestyle programmes which I have researched the background music has been applied after the filming rather than within the filming. Therefore I followed this convention in order to fit in with pre-existing lifestyle productions. In some of the scenes the music is to be louder (as I have noted on the storyboards). This is where the presenter stops talking and a closer shot it made. I decided to use this because, after looking at the other lifestyle programmes which I researched (links above), I noticed that often the music would be louder when the presenter stopped talking and focus was placed on a different object or scene. This allowed the producer to keep the audiences attention on the programme instead of drifting away as the presenter is not there to engage the audience by speaking to them. By using this my production is inkeeping with the generic conventions of other existing broadcast productions.

Camera Shots and Angles:
For the establishing shot I used a Very Long Shot in order to encompass and set the scene (this was used in programmes which I had researched), allowing perhaps for the audience to feel as if they are actually there. This may tie in with the audience using (Uses and Gratifications) the programme as a means of identification (those who enjoy craft). Medium Close Up's allowed me to create a personal view from the audience of the presenter, perhaps establishing a connection between the audience themselves and the presenter. I used MCU's at the end of the sequence in each storyboard in order to finish on that notion of a personal bond. This may urge the target audience to watch the programme, especially as they have a psychographic of 'apirers' and so may feel the desire to aspire to be like the presenter within the professional area of craft. This also applies to the lower demographic categories who are not a professional in any area and follows Maslow's Hierarchy of Needs in which people are believed to have a desire to belong. Furthermore I decided to ue of a combination of Close Up and Medium Close Up shots to convey the craft side of the programme. I used such shots on the scenes of craft products in order to entice the target audience who enjoys crafting, thus attracting them to the full programme. This was a technique which I noted from my research into Kirstie's Handmade Britain where these shots were used to convey the same purpose.  I chose to use Long Shots and Medium Long Shots after looking at Alan Titchmarsh's Garden Secrets in which both of these shots were used when the presenter (Alan Titchmarsh) was talking to the camera in a rural setting. This allows the audience to see the presenter from many angles, thus getting familiar with the presenter. This is important for those who gain gratification from identifying with the presenter, especially as the presenter of my production has not been in existing media productions. Also in terms of the camera, for some MCU and CU shots I chose from the camera to move slowly from the left to the right. This allows for focus on the detail of props whilst encompassing the whole prop as well.

Props:
In all of the storyboards I have used props which have connotations of crafting (candles, cakes, fabric, sewing boxes, needles, interior decor). I noticed that props were important in attracting the target audience in the broadcast pieces which I have researched, therefore I used these props in the same way. The props are likely to appeal to the target audience who enjoys crafting because of the obvious craft connotations. Also, the hand made props (such as the fabric cushion cover, cakes and Christmas stocking) are likely to appeal to the lower demographic categories of the target audience. This is because it suggests a cheaper alternative to otherwise expensive objects (and so in terms of 'Use and Gratifications' can be used for money saving ideas). The colours of the props hold a way in attracting the target audience too. I have chosen pink in some of the props (such as the pink icing) because pink has connotation of feminism, thus applying to the gender of the target audience. Also, the hand made props may provide a challenge for the psychographics of the target audience. Being aspirers and explorers, the target audience may feel as if hand crafting provides a new 'challenge' to themselves, therefore drawing them in to watch the programme. The use of props, i discovered from my research, accompanies what the presenter is saying. I chose to use an abundance of craft magazine pages in Storyboard 3 in order to convey the sense of irritance that the presenter has in not being able to find an affordable interior, I then went on to one of these pages being crumpled and thrown by the resenter to further display the annoyance. Here, the props accompany what the presenter is saying and may also resonate with those in the lower categories who feel the same irritation. Through the use of props, then, I am able to attract the target audience to the programme.

Further choices vary for each storyboard:

Location:
Storyboard 1
Initially, the location is in Chichester in front of an idyllic prestigious manor house. I decided the use this as the location for the establishing shot and further few scenes because it is likely to appeal to the demographic category of B- who may identify with the connotations of wealth. Similarly this may appeal to the lower demographic categories of my target audience who also have the psychographics of 'aspirers' and aspire to own such an idyllic place as this. This follows the establishing shot of other craft programmes which I have researched where idyllic places are used. Further into the storyboard, I changed the location to a rural setting. This is because it resonates with the connotations of uniqueness that craft gives, thus applying to the psychographics of 'explorers' who aim to discover different things. I also decided to use this transition from the home to the rural setting because it fits in with the idea of a journey of craft (as said in the presenters script). Some scenes are also shown inside the home. I chose this location because it allows for the feeling among the audience of being accepted by the presenter into their personal life, thus (in terms of Uses and Gratifications) the target audience of craft lovers is allowed to gain gratification from identifying with the presenter who shares in the same interests as themselves and allows for a  'personal' bond to be created. This may entice the target audience to watch the programme.


Storyboard 3
The location of this storyboard is in the home of the presenter. Initially the scene is of the presenter as her desk in a room. I chose this location because it may allow the target audiences age range and gender to identify with the presenter in the decor of the room. Furthermore the idea of your own home gives the sense of new independence which my have also just come into the lives of the age range who are younger adults (26-30), thus creating the notion of identification. It also allows for the laid back feel to the programme and applies to the bond between the presenter and the audience. The storyboard then moves location into the presenters garden. This again applies to the bond between the presenter and the audience which may convince the target audience to watch the programme as they identify with the craft theme. It also applies to the title 'Country Crafting' which gives connotations of the outdoors, thus showing a pattern of continuity.

Storyboard 2
For the same reasons as previously mentioned, the setting of the presenters home is used. More importantly I chose to transition from the busy, chaotic, urban setting of shops at the beginning of the storyboard to the calm and remoteness of the rural outdoors at the ending. For one this accompanies what the presenter says at the beginning of the storyboard, but it also follows the Narrative Theory. There is the disequilibrium in which the pressure of society (urban setting) distracts people from being who they want to be and then the new equilibrium where the presenter offers a retreat to be unique (rural setting). Through the manipulation of the setting to follow the Narrative Theory  my production may entice the target audiences psychographics of explorers, and the idea of problem solving may appeal to the lower demographics who may struggle with such problems with identity themselves.

Storyboard 4
I chose for this to be set in a larger room to give the idea of a craft fete or club, especially in the props of the tablecloth. This allows for my production to appeal to the target audience of craft lovers because it may gives the idea of a craft society which creates a sense of belonging (as previously mentioned, a factor in Maslow's Hierarchy of Needs). This is also true of the setting of the art rooms, which may evoke a sense of artistry within the passions of the target audience, thus inviting them to stay tuned and watch the full programme. I also incorporated the setting of the outdoors, again, to apply to the name of the programme and create that sense of uniqueness in the detachment from society which may be desired by the target audience who has a psychographic of 'explorers' and 'aspirers'- who aspire to be something different.