TV INDUSTRY how much do ads cost to place?

Have you ever wondered how much it costs companies to get their ads on TV?

Here's a great article which provides a range of examples, from the big terrestrial channels (thats BBC1, BBC2, ITV1, C4, C5 - though the BBC doesn't carry any ads as its funded by a compulsory license fee of around £150 a year per household) to smaller, niche digital channels...

TheDrum on TV ad costs.

Examples: a 3-second ad on primetime ITV1 can cost £30,000, but on digital channels such as the Horror Channel and Animal Planet daytime ads can cost less than £50 - you can even get an ad on some of BT Sports' less popular strands for ... £5!!! The article gives the rate for Hollyoaks on C4, a show with a similar audience to BBC3's Class.

Comparing 2 music videos Smiths v Sheeran

TBC

Its tempting to suggest viewing the EdS example with the audio off, but sadly you couldn't analyse the editing properly then...

There are many ways to approach analysing one, or comparing two, music videos. The key for you is to ensure that you give SOME consideration to ALL 4 Key Concepts: Media language, Audience, Representations, Industry ['Institutions'] - MARI Christmas!

Lets start with the one that may seem least obvious, INDUSTRY.

THE TWO VIDEOS
THE SMITHS: "This Charming Man"


ED SHEERAN: "Bibia B Ye Ye"


APPLYING KEY CONCEPT INDUSTRY
Your 1st question is: major label or Indie?
However, you can also look at the distribution of the video itself; its number of views; and the same for the track on the likes of Spotify.

KC REPRESENTATION Golden Girls and countertype v stereotype

You have 4 Key Concepts to carefully consider throughout the course: MARI...

The clip below contains a mix of stereotype and countertype for you to consider. This show was broadcast in the pre-digital era on a mainstream channel, therefore it couldn't simply target 'older' people as its primary target audience. How does the use of countertypes and stereotypes widen the potential target audience for this show?


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TV DRAMA MEDIA LANGUAGE Class and Downton clips

Two short clips to look at, one 30-second trailer for Class (Season 4, BBC3) and ITV's Downton Abbey season 1 trailer (60 seconds).

CLASS, BBC3 SEASON 4 TRAILER

SOME WIDER CONTEXT:

• a BBC3 (online via iPlayer youth [15-34] channel) sci-fi spin-off from Dr Who, but for YA audience (slightly older than Dr Who)
• here's a BBC summary
• there is lots of content, including fan art and other UGC, on this BBC page
• ...and the Wiki.
• Skip to the bottom for more videos which help put Class in context

HOMEWORK FOR MONDAY 18TH: Storyboard this trailer. Drawings don't need to be complex - stick men/shapes are fine. Denote (write) the basic framing (ELS-ECU range; 2-shot, OTS etc) and angle (LA/HA/MA/DA; worm's eye; helicopter shot). Comment on the media language used.

NEW DRAMA STORYBOARDING TASK: BBC3 is a youth (15-34) channel. BBC4 goes for an older, upmarket audience, and is launching a new drama series called Home, about the goings on in a retirement ('old folks') home. Your job is to come up with a storyboard of at least 12 shots for a trailer that (1) sets the scene (2) introduces 3 key characters (3) one of which is a terrifying bully. EXTENSION: If you have time, you can also add notes on the non-diegetic music you would use; how costume or props would signify or connote [symbolize] character; and any transitions or SFX you might use.

YOUR BBC4 DRAMA - QUICK DECISIONS TO MAKE:
(A) TWIST Like Class, is there a twist or 'hybrid' element? It adds Dr Who sci-fi to the school drama, yours can be outrageous too. 
(B) CHARACTERS - decide on the age, gender and position (resident or worker, manager or owner) HERO - a resident or a worker/boss? VILLAIN/BULLY - a resident or a worker/boss? Male or female? Age? 3RD KEY CHARACTER -  a sidekick, love interest, perhaps the boss/owner? Male or female?
(C) SCENES TO INCLUDE IN TRAILER You might have one longer scene, but include some shots from multiple scenes just as you'd expect a trailer to. Think about shots that help establish the setting; the nature of characters (eg angles, two shot); create some mystery.


DOWNTON ABBEY, ITV SEASON 1 TRAILER


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Shoes like Class arguably exist because of the high school/horror hybrid Buffy the Vampire Slayer, which also blended comedy and romance into its hybrid genre approach. We call an early influential example, almost a template for further efforts, an archetype.


Here's a longer Class trailer (the 19 seconds trailer is a teaser trailer) which should give you a better idea of how the show works.

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Video games books and resources

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Amazon UK search;
Understanding Video games (2016);
Routledge Companion to Video Games (2016);
The Video Game Debate (2015);

MUSIC VIDEO Miley Cyrus task

We will explore and discuss one example as a class, and your task will be to summarise your findings on a PowerPoint for the lesson on Friday 8th September, including screenshots to illustrate. Homeworks will usually be for Tuesdays.

You have two weeks to complete/improve your summer work, submitting for Tuesday 19th September lesson, applying learning from Miley and other examples (as PowerPoint or Word).



The following 5 steps are one simple, quick way of exploring a music video. You should see the link to the Key Concepts (MARI). There is much more you could also consider, and there should be plentiful use of precise terminology as you go.

STEP 1: BASIC MEDIA LANGUAGE
As we view, shout out if you see a shot type or angle we have not seen yet. Make a note, including the timing, so you can easily get a screenshot.
EXTENSION: can you link this to any of Andrew Goodwin's points? (He wrote a book in which he set out the features of media language that defines the music video format - you have notes on this)

STEP 2: ASSESSING THE MEDIA LANGUAGE
What is typical about the media language we've seen in this video? [Again, it will boost your grade to draw on theory such as Goodwin's] What media language do we think is typical of music videos?
Is there anything that is unusual (atypical) for the music video format?
Does it make any difference to the media language if we think more about genre?
[As part of your homework, count the number of cuts in the video EXTENSION: work out how many cuts that makes per 60 seconds. HINT: Convert 3:41 to seconds]

STEP 3: WHO IS THE AUDIENCE?
Remember to use your handouts to keep key terms/concepts in mind (eg uses and ...? theory)
Who do you think is 'the' audience, and why? [Think about why I've written 'the' audience, and be specific with your evidence]

STEP 4: STEREO/COUNTERTYPE OF GENDER?
Is this stereotypical, counterypical ... or both?
Would a feminist approve?
EXTENSION: Would a post-feminist approve?
Are there other aspects or themes of representation you want to raise?

STEP 5: WHAT IS VEVO?
Explain clearly who/what this is.

What terms can you use from your film work to help explain the company types? Use these again to denote (state) and explain the type of record label or distributor that Miley Cyrus is signed to.

OPTIONAL STEP 6: CAN YOU IMPROVE NOTES BY MAKING LINKS BETWEEN TOPICS?
Now you have considered some key aspects of the video you might be able to improve, extend your earlier notes and analysis.
Perhaps you can see themes you'd like to write about under your own heading, not the simple single Key Concept-linked headings I've used.
Ultimately you will be submitting 12 pages of evidence which samples or summarises your research AND pre-production work (location scouting, drafting, costume, make-up, audience feedback etc). You don't need to immediately start on laying out beautiful Word documents (PowerPoint may help you to produce good notes quicker) - focus on building up well-evidenced/illustrated research that you will be able to adapt.

Over to you...
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TV reboots

Even better this time round: The Crystal Maze, Twin Peaks and our golden age of TV reboots https://www.theguardian.com/tv-and-radio/2017/jun/23/the-crystal-maze-twin-peaks-golden-age-of-tv-reboots?CMP=Share_AndroidApp_Blogger

Summer work 2017

For current Year 10s entering Y11 in September 2017, your summer work tasks have been discussed, and are detailed in pages 9-10 of the guide below:

Mvid assgmt3 planning from DB3igs

OPTIONAL: You will also have returned work from assignments 1 and 2, and can get ahead by re-drafting these during the summer.

As explained, email replies will be minimal until late July, but you will get a response. You should use your Office365 account to do so - and look out for new resources being added in August (which will be announced through Office365). You need to access your Office365 mail and click to join the class you've been invited to!

FILM POSTERS Cannes examples

TBC

Guardian list of some atrocious but REAL examples from Cannes.

TV Game Show presenter - justifying your choice

There are similarities with your magazine cover star and film leads in what you need to consider and be prepared to write about:

AUDIENCE: Everything comes back to this in the end; all decisions need to be justifiable with reference to target audience. Remember you can split up and discuss the audience (type) in many ways:

• primary (main; core), secondary
• mainstream (eg a family audience!), niche
• four quadrant (really a film term - say so if using it - but still a useful concept)
• ABC1C2DE (socio-economic groups: high to low incomes, where ABC1s are targeted with complex, sophisticated media productions and C2DEs with simpler, less sophisticated productions; your range may be any range within this, eg C1C2DE for a gameshow with ANY element of sophistication or audience (intellectual) challenge
• sophisticated, upmarket (ABC1) and tabloid, downmarket (C2DE) is another way of describing these
• Uses and gratifications model!!! Also vital for...

TV Game Show exam tasks

You have now been given your exam prelim material (see below). You need to research a range of issues in preparation for this...

2017 prelim tv game show from DB3igs

KEY POINTS FROM THE BRIEF

Key points to consider:

1. your idea would be pitched to a digital channel, NOT a terrestrial or free-to-air channel
2. they've asked members of the public to pitch, perhaps further connoting low budget...
3. it must have a USP
• you'll quickly see there are MANY competing game shows
• what will make YOURS stand out?
4. it must appeal to all the family, younger, older, male, female (four quadrants)
• look at how shows like Family Fortunes tried to appeal to a family audience
• think carefully about Key Concepts Representation/Media Language: the presenter/s, set, contestants, task or competition - and difficulty level of any questions or challenges (can younger viewers engage, or (U+G theory!) identify?) 
• the programme title itself is very important - and, just like a magazine masthead, you need to plan the look of this: you could search for a specific font and mock this up, just be prepared to denote the font (serif, bubble, case, colour etc)
5. "the focus on the family audience must be clear from the opening title sequence" 
• be prepared to storyboard your title sequence
6. the slot is Saturday evening primetime, scheduled for autumn
• research what shows currently hold these slots
• a good sign of success is it coming back for more than one year or season!!!
7. viewers at home must be able to play along in some way: audience interactivity, engagement
8. social media/e-media are vital to promoting the show and brand + increase the audience
• this could also be about monetising: SMS/premium rate phone voting or competition entry, but also (freemium?) apps, board games, DVD games etc
• be prepared to draw a website, app or social media home page (or more)
• research existing examples
9. your idea needs to be backed up with evidence from existing, successful game shows

TRAILERS The It remake

This is a side-by-side comparison of the upcoming 2017 version and the original 1990 TV minseries, a useful example of how important UNoriginality plays in a film industry that recognises the difficulty in marketing new ideas, and seeks to draw in secondary older audiences through nostalgia.


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FILM pitching

Use your practice pitch, and notes/handouts to help develop a strong pitch - the process of presenting a film proposal to film financiers/distributors, trying to convince them to risk money on your movie.

Your pitch should be backed by a PowerPoint or video with plentiful, frequent, relevant illustration.

This needs to be emailed (a YouTube link if video) before the Friday 7th April lesson. You will also Monday's lesson to work on this.

It should address:

1: SYNOPSIS
In no more than 2 sentences, sum up the narrative.
State at least 2 films this has similarities to (explain how), noting their box office + which audience/s you think those examples appeal to.
RESEARCH TIP: if you google 'film title box office https://www.theguardian.com/uk/film' you might find useful analysis on the audience, or just try 'film title audience' - Avatar example1; example2.

TV Game Shows lists and clips

TBC

BBC game shows Wiki;
UK Game Shows (site dedicated to this);




CLIPS

EVERY SECOND COUNTS 1993


CATCHWORD 1989


PLAY YOUR CARDS RIGHT 1996


SPIN OFF


THE WALL 2011


PASSWORD 1950s


STRIKE IT LUCKY


FAMILY FORTUNES 2000s


FAMILY FEUD





 
SPORTS/PHYSICAL CHALLENGE GAME SHOWS
There have been many of these, from It's a Knockout to Channel 4's disastrous The Jump, a hybrid with reality TV in which contestants kept getting seriously injured (so it was axed).

GLADIATORS 1990s
This became a successful international format/franchise, and even saw international spin-offs, with various national champions facing off against each other.


THE KRYPTON FACTOR 1980/90s + SPECIALS



DATING SHOWS
A classic format, with Blind Date the queen of the format, fuelled by 60s pop star Cilla Black's catchphrases delivered in a broad scouse accent. Take Me Out is a more modern version, losing all the gentleness of its predecessors and putting an unsubtle meat market on screen. Mr and Mrs was a long running, very old-fashioned show.

TAKE ME OUT 2010s


BLIND DATE 1980s


MR AND MRS 1970/80s + 2010s CELEBRITY REMAKE


KIDS/TEENS GAME SHOWS
The format is adopted not just for mainstream mass 'family' audiences (primetime, teatime and lunchtime slots, not to mention endless re-runs throughout the day on channels such as Dave or Challenge, with very occasional post-watershed 'adult' shows too), but also for younger niche audiences. Runaround and Crackerjack are two classic examples, combining quiz and physical competition elements, and Crackerjack being something of a hybrid, almost a variety or chat show with its special guests. 

Blockbusters was a hugely popular quiz show in the 80s and 90s with school and uni students, featuring sixth formers (Year 12/13; age 16-19). Slightly older university level students have become a key part of the audience for other daytime quiz shows, not least Countdown.

RUNAROUND 1970s


CRACKERJACK 1982



BLOCKBUSTERS 1991

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MUSIC VIDEO audience research

These A2 students created a video survey, embedded below

As this is a new topic for GCSE here, there aren't any past examples to show you - but you can take inspiration from some A2 Media work.

This document, aimed at A2 students, sets out some of the ways you can evidence audience research:

MVid Audience research from DB3igs

Here's the video questionnaire created by some past IGS A2 students, the greenscreen dream team of Amber and Conal; you see further down an example of other students answering this. A video questionnaire is a great way of organising this: it creates buzz, you can open it up to others by sharing the link (ask respondents to simply to note their answers (numbered!) including DN for don't know), and it helps to get a specific focus on music video.


You need to show you TESTED your initial judgement on a suitable target audience, and gathering SOME survey data on whether teens (or others) recognise your genre, artist or specific track is a good starting point. Getting some brief descriptions of what those vaguely familiar with the genre/artist expect to see is also useful.

Warp v Working Title Film examples

EXPLORING THE FILM INDUSTRY FOR ASSIGNMENT 2

We'll watch and compare these two trailers shortly



You can find additional resources in these posts:

• Video of summer 2015 hits + the (UK Indie) posters/trailers from page2 of the handout
• Pitching pointers and gallery of hybrid movies

We'll focus on two contrasting companies to begin exploring this industry.

• Working Title is owned by a huge US conglomerate (company that owns other companies), and so can make high budget movies
• Warp is an Indie (not owned by a larger company), and so makes low budget films

You can see the trump cards below for a selection of these. NOTE: I've blogged on many of these films in much more detail over on my Cinema blog.

Here are the boxofficemojo links for each (this site gives budgets, box office figures):

WORKING TITLE

2 contrasting companies in trump cards (gallery further down)

Bridget Jones's Baby (Maguire, 2016)
Sequel to Bridget Jones' Diary and Bridget Jones: Edge of Reason
Green Zone (Greengrass, 2010)
Marketing of this action/spy thriller tried to tap into the Bond rip-off Bourne's success by focusing on Matt Damon, with disappointing resultd
Hot Fuzz (Wright, 2007)
Second of the 'Cornetto Trilogy' this cop buddy satire was a sizeable hit despite its low budget.
Legend (Helgeland, 2014)
International audiences just weren't familiar with the Kray Twins (real life post-war London gangsters), and so box office was low outwith the UK
Les Miserables (Hooper, 2012)

Global IP/brand + A-list stars = global hit!

The sort of A-list star-studded movie, based on a globally successful IP (the long-running musical), that Indies couldn't dream of, this was a solid success
Notting Hill (Michell, 1999)
The company's second global hit rom-com starred megastar Julia Roberts, and made a star of Hugh Grant, fresh of Four Weddings and a Funeral success.
Paul (Mottola, 2011)
Featuring the (British) Cornetto Trilogy leads, this sci-fi/comedy hybrid used an A-lister (Seth Rogen) and a US setting to boost its US and international appeal
Shaun of the Dead (Wright, 2004)
Still popular with today's teens, the zom-rom-com that kickstarted the Corentto Trilogy
The World's End (Wright, 2013)
The budget was much higher than the previous Cornetto Trilogy movies, but the box office wasn't - I've blogged on why in detail
Theory of Everything (Marsh, 2014)
Typical Working Title: well off white southern English characters in a grand setting, with the romance framework boosting appeal to this biopic of Stephen Hawking.

Budget: just £48k!

WARP FILMS/WARP X
'71 (Demange, 2014)
Set at the start of the Northern Ireland 'Troubles' (armed conflict verging on civil war), this action/thriller could have been a hit with a star or two
Four Lions (Morris, 2010)
Such a bizarre idea: a comedy about a su*icide b*mber! A suprise hit in the UK, but it didn't do well in the US
She a Chinese (Xiaolu, 2011) [no entry]
You can't get much more uncommercial (unlikely to make money) than this: a Chinese woman illegally stays in Britain after running off from an official tour
Submarine (Ayaode, 2010)
Ingenious Welsh teen rom-com
This is England (Meadows, 2006)
The franchise continued on TV, with 3 series of sometimes brutal social realist drama
Tyrannosaur (Considine, 2011)
Another dark drama, despite the (sort-of) romance, it proved a hard sell with its two unglamorous middle-aged leads
Le Donk and Scor-Zay-Zee (Meadows, 2009)
Shane Meadows shot this mockumentary in just 5 days! Its entire budget wouldn't cover the catering on some tentpole Hollywood shoots!

Crossword challenge 1

You can type directly into this; click through to https://crosswordlabs.com/view/gcse-some-major-terms
If you're really stuck, I can give you a list of the words used for answers - though you'll still need to match them up to the right answer!

2017 Y11 crosswords are below the read more link...

FILM POSTER media language to audience analysis

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The high angle and shocked facial expression (of Pegg especially) connotes the vulnerability of the two humans in the picture. As well as a convincing alien figure achieving verisimilitude for this, the sci-fi genre is also signified through the purple/violet circle of light. More anchorage for the genre is given through the graphic design of the 'a' in Paul, featuring an alien figure.
The choice of a white bubble font signifies a less serious tone, and a target audience that includes teens, even though the uses and gratifications theory suggests teens might not so easily identify with the mature adult pair.
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FILM drafts

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2016 poster drafts jan 2017 from DB3igs

CW's alt version:

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MAGAZINE your drafts

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2016 17 mag drafts jan 2017 from DB3igs

Missed HI's (click to expand):

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MAGAZINE audience research - get the advertiser profiles!

Just above this caption you'll see 'Media Pack' - this is for advertisers, detailing the readership of the magazine (Conde Nast Britain)

Most magazines take in more revenue from advertising than from the cover price (from which, don't forget, distributors and retailers get their cut!).

In a very real sense, if you go out and buy a magazine, you're not buying anything ... you're being sold to advertisers!

Giant multinational conglomerate Time Inc. UK boast to advertisers of their music mag Uncut readership's spending habits

At A-Level we look at theories such as Noam Chomsky's 'propaganda model' which argues advertisers play a highly ideological role in the media industry, acting as a 'filter' to keep out radical ideas that might threaten the rich and powerful.

Part of Dennis Publishing's blurb on 1 of their many titles

For GCSE, just be aware that they play a key role in magazine branding: every title is seeking to attract an audience that will appeal to certain advertisers. This might be niche (narrow, specific, highly selective) or mainstream (broad, general) but the bottom line is that advertisers will not risk wasting valuable resources paying for space in a magazine that doesn't fit their customer profile. They MUST know who they'll be reaching with their ads - the age range, gender and income levels at a minimum.

Part of Haymarket Media's advertiser pitch for glossy footie mag FourFourTwo

Therefore, magazine publishers are under pressure to provide detailed information, including demographic data (the % of readers within categories such as age, gender, income) to advertisers. This can often be found on the main websites of publishers, and accessing some examples should help you make your own audience analysis much more sophisticated.

Bauer, one of the leading UK publishers, provides advertisers with an interactive tool to match their needs to magazine brands!

Just a few of the many magazine brands owned by Time Inc. UK

To find these you need to know who the major magazine publishers are. In the UK, the focus for this blog, these change over time as there are mergers, closures and launches of new titles and categories too, but at the time of writing that includes (with examples of their publications):

Future (MacFormat, PC Gamer - here's a full list)

Bauer UK (Empire, Grazia, Kerrang! - audience finder; case studies)

Conde Nast Britain (Vogue, GQ - here's the GQ Media Pack)

DC Thomson (WWE Kids Magazine, Shout - Shout [girls mag] Media Pack - scroll to the bottom of main site for full list of titles)

Dennis Publishing (Cyclist, Cross Stitcher, PC Pro)

Haymarket Media Group (Autocar, FourFourTwo, Senior Living)

Hearst Magazines UK (Good Living, Hello, Cosmopolitan, Inside Soap - rate card for Elle)

Time Inc. UK (NME, Golf Monthly, Yachting World, Women's Weekly)

Find more magazines by using online shops such as this.

MAGAZINE the key steps to a good cover

You need to clearly evidence engagement with the KEY CONCEPTS of Media Language and Audience. That means knowing the technical terms, understanding design conventions, and how each media language decision can impact on the likely target audience. This is a task about branding, and the media language choices that enables an institution a specific target audience that can be sold to advertisers! In a declining market suffering from digital disruption, with plenty of titles closing or going web-only, the 'migration' of ad revenue to online (especially Google and Facebook) is a massive blow for the magazine industry.

STEP 1: IDENTIFY THE COMPONENTS OF A MAGAZINE COVER
There are many terms to learn, from straplines to masthead to hyperbole ... you need to be able to apply the correct, accurate industry label to each of these common elements of cover design.

STEP 2: BEGIN TO EXAMINE HOW EXISTING MAGAZINES VARY THESE COMPONENTS FOR DIFFERENT AUDIENCES
Throughout your Media Studies journey you'll be asked to research existing examples to learn industry conventions before constructing your own. You need to learn how media language choices are made to target different audiences.

STEP 3: RESEARCH A MAGAZINE SECTOR
Gather details of what magazines are available (we will focus on the UK market) in print of a magazine sector you think you would like to focus on for your own production. That might be music (if so, any specific genre?), fashion (men's, women's, girls?), technology (gaming - which console/platform?; futurism; general computing - or Windows, Mac, Linux...), consumer/lifestyle (homes, holidays, boats...), celebrity (usually considered women's magazines), film/TV (genre, time period...), sports/hobbies ... there are magazines covering most things you can think of.

See what ideas these examples give you - you might decide it does not seem such a good choice after all!

STEP 4: WRITE UP ANALYSES OF TWO MAGAZINE COVERS
You should by now have an idea of what type of magazine you will work on, so should pick two from your sector. You need to carefully and accurately apply a wide range of relevant terms. You also need to use the full range of audience terms, and engage with any theories that help to explain how audiences make their choices.




STEP 5: DEVELOP + PITCH YOUR MAGAZINE IDEA

MAGAZINES Institution - how digital disruption is transforming the print industry

You can find details of the many closures with a simple google.

Every media industry has faced massive, often brutal, change as a result of digitisation. New forms of distribution are transforming ways of operating, with new names like Spotify and Netflix rising to threaten the old, established giants.

The term used to describe this phenomenon and process is disruption, or digital disruption - the smooth ways of doing business have been challenged, changed ... disrupted.

USEFUL TERMS: DIGITISATION; DISRUPTION

INDUSTRY AWARENESS: Because of the challenge of digitisation (young people preferring screens to print, and advertisers moving online, taking their money away from magazines), many titles have closed recently, unable to survive the double whammy of falling circulation (sales) and loss of advertising revenue*. If you really can't find current, ongoing titles, then you can use titles that were published during this current decade.       *magazines generally rely more on advertiser fees than the cover price to make money!


The story seems simple: digitisation means that print magazines are doomed - but there is, possibly, one exception - luxury magazines ... [article link]

2017 student music videos

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Halsey.
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MUSIC VIDEO conventions research

To help evidence research into, and knowledge + understanding of, the media language of music videos, you need to analyse a wide range of examples.

From this, you should generate several well-illustrated pages with a summary (which you split into as many smaller topics, or put alongside aspects of your planning as you wish):

1. the general media language (conventions; what makes it recognisable from other types of media text) of the format
2. the media language specific to your genre/artist

You can see in this post on my blog dedicated to music video and the music industry (a very helpful resource for you to use), just a few of the elements you could pick out - here's a screenshot of some of those (from a much longer list):

So - you're looking for screenshots that will help you illustrate conventions. Always name the artist, track and year for any video you reference. If you can also screenshot 1 or more YouTube playlists (of videos you've viewed/analysed for your research) from your own channel, this helps show the range and depth of your research.

I will play you annotated clips from some videos I've blogged on, done an earlier vodcast on, and added to a playlist. We will pause after each clip so you can see if you can spot at least 1 more possible 'convention' demonstrated by this video. That might include any of Goodwin's points (he sums up six features that his research claims define the typical music video). You will find the necessary hyperlinks in this very useful post.

For The Pixies example, look again at this post...

We'll start with a discussion of the first 75 seconds of this...


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MUSIC VIDEO research and planning evidence portfolio

An overview on how you might present research + planning evidence.
REPRESENTATION points to be added. 

UPDATE, 2018: Scroll to bottom for a quick guide on referencing/bibliography (crediting. acknowledging your research sources)

Use the theory tag to find more posts outling terms and concepts you should seek to apply - and you should of course be using handouts from Year 10.

GCSE Assgmt3 Music Video research planning portfolio from DB3igs

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A SIMPLIFIED 12 PAGES LAYOUT

(Statement of goals)
1: INITIAL RESEARCH: GENERAL FORMAT CONVENTIONS

2: ARTIST/GENRE RESEARCH: NOTABLE CONVENTIONS

3: OUR/MY IDEA + INFLUENCES

4: AUDIENCE RESEARCH

- PRIMARY RESEARCH
- SECONDARY RESEARCH
- INDUSTRY CONTEXT
- (if needed) IDEA UPDATE

5: PLANNING

- LOCATIONS, PROPS, SET DRESSING
- CAST + COSTUME/MAKE-UP
- STORYBOARDS/CALL SHEETS
- IMAGE USE PERMISSION FORMS
- PRODUCTION SCHEDULE (including cancelled but planned shoots)

GUIDANCE ON SECTIONS
I've included a suggested length for each section, within a range to give you flexibility. Include more of what you're strongest on.

1: INITIAL RESEARCH: GENERAL FORMAT CONVENTIONS 

2: ARTIST/GENRE RESEARCH: NOTABLE CONVENTIONS

KC M Lang is crucial here and on storyboards. Not just shot type/angles, but movement; edits/transitions (eg crosscutting, crossfade, layering) + pace (short/long takes). You should try to use semiotic terms wherever possible: anchors (makes clear the preferred reading); signifies/connotes instead of shows/symbolises; achieves verisimilitude (is convincing/realistic).

KC Representation is also key, especially of age and gender (but you may wish to engage with social class, sexuality, location/place etc).

The A-grade 'Candidate B' got marked down for generalising - there was a lack of specific examples of media language from their research.

LENGTH? Between 3-5 pages, including relevant screenshots

*********SUGGESTED FRAMEWORK - rather than tackle a series of individual videos in isolation, which you seem to find quite intimidating, use Goodwin's list of conventions as a series of sub-headings. Introduce the overall theory (see my Bagboy analysis for help) + briefly explain each of his suggested conventions. You can use multiple screenshots from a range of videos of each, using captions to make your analysis clear. HIGHLIGHT (bold+pink) any media terms you use, which should be quite a lot! Denotation of the shot type, angle, focus, edit/transition/SFX etc is important!!!*********

3: OUR/MY IDEA + INFLUENCES

A clear, specific breakdown of the narrative + role of performance. (THEORY TIP: It was Firth who argued all music videos are categorisable as 1 or more of performance, narrative, concept. Both groups are combining perf/narr). This can be as bullet points.

Highlight a simple, clear statement of your primary and secondary target audiences (GAPS).
A list of key influences to help make really clear the impact of your research.

LENGTH: 1 (may go on to a 2nd page, but better on 1. Provide minimum 2 screenshots)

4: AUDIENCE RESEARCH 

- PRIMARY RESEARCH 

- SECONDARY RESEARCH 

- INDUSTRY CONTEXT 

- (if needed) IDEA UPDATE

This is where the 'Candidate B' most impressed.

Primary research does not mean research into the primary target audience; it means unique, original data generated by your research efforts: eg opinion poll, survey, questionnaire, mood board. You have done this, but need to work on its presentation, including a clear summary of your findings for each of these sub-sections, then an overall one. (Research is also divided into quantitative, using numbers/data, and qualitative, based around interviews or panels for example)

Secondary research means from your reading of existing writing. An example would be points you get from articles like this [NB: contains some explicit language]. Make sure you credit the source, and make clear where you've quoted. Paraphrasing is usually better (putting into your own words, but still acknowledging the source).

Industry context is specifically using data (but also any user comments you think help) from YouTube, Spotify and other social media like Facebook, Twitter. You can contextualise by including general data/figures on these, such as the payment per 1000 streams. You've got this info, you just need to format and present it!

If you think your audience research points to some necessary change(s) to your initial idea and statement of target audience, BRIEFLY outline it. It is NOT a bad thing to do this.

LENGTH: 3-5 pages. Work to your strengths. If you've struggled with video analysis, do more on this - or vice versa.

5: PLANNING 

- LOCATIONS, PROPS, SET DRESSING 

- CAST + COSTUME/MAKE-UP 

- STORYBOARDS/CALL SHEETS 

- IMAGE USE PERMISSION FORMS 

- PRODUCTION SCHEDULE (including cancelled but planned shoots)

This could be almost half of your 12 pages. Key assessment phrases:

plan independently + effectively
flair and creativity through pre-production work
... [which is] convincing, fit for purpose, and engaged
uses appropriate forms and conventions
material presented skilfully
clear understanding of how audiences are identified and how production is tailored to audience needs and expectations

The key here is to think of this as a substantial snapshot of your planning. You can't really present a full, detailed storyboard - BUT you can show all of these as smaller images on a single page, and then pick out some frames or scenes to highlight in a more readable scale. What you should also do is use a different colour to individually highlight the influence of your research, plus how you're setting out to target the primary/secondary audience with the choices you are showing.

Likewise, a pic of fanned/spread out permission forms and call sheets, but some clearly visible detail from at least one of these.

Storyboards and call sheets are useful, but also any behind-the-scenes evidence:

• before and after photos (or screenshots!) to show set-dressing, easy to annotate
• specifics of costume - try to get a shot of each cast member looking as different as possible to their appearance in your video to emphasise care over costume
• annotating can include reference to existing videos you've researched, or other intertextual links
• groups must include very clear detail which evidences individual roles; if you haven't detailed your share of work on production set-up, planning, camera, editing, directing then you cannot get credit for this
• groups should try to highlight different storyboard sections/scenes to help clearly individualise the 12pages, and link to evidence of individual contribution (I filmed/directed etc this scene)
• hardware used (you can briefly reflect on digitisation, convergence) + software you plan (this is written as done BEFORE filming/editing) to use
• try to indicate some planned use of SFX in storyboard samples

LENGTH: 4-6 pages. 

...

I can't embed the exam board doc here, but here's their marking of the example (2016 candidate B, assignment 3)


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REFERENCING AND BIBLIOGRAPHY
Euan asks how he would go about a bibliography.
If thats a new term, it means a list of sources used within an essay, book, or evidence portfolio like yours.
You have used a source if you got information from it, whether you use direct quotes or not.
I'd suggest a 2-part approach to references:

1: LINKS WITHIN YOUR TEXT
State sources BRIEFLY as you go. Do this BRIEFLY by hyperlinking key words, DON'T show the full URL. Here's an example from a short blog post of mine:
The e-zine MetalSucks is one of many to feature the release of new Iron maiden figurines...
The examiner will only see a paper copy, but they can visually see you've acknowledged your source and made it clear where it comes from (an e-zine called MetalSucks). Notice that I use bold to make links stand out. Its quick + easy:

> Copy the link (CTRL+C or CMD+C [PC/Mac])
> Type your sentence
> Highlight a word/phrase
> make it bold (CTRL+B or CMD+B)
> Open the hyperlink window (CTRL+K or CMD+K)
> Paste the hyperlink in the box (CTRL+V or CMD+V)
> Hit ENTER or click OK

Here's another example from a MusiVidz blog post:

Its another reminder of the convergence between film and music video - bear in mind that the 1964 Beatles movie A Hard Day's Night [Wiki] is widely considered as having created the music video template (archetype) with its video-like scenes

In that case I just inserted a useful link in square brackets; I wasn't quoting from it.


2: BIBLIOGRAPHY
This is quite useful to help evidence your 'engagement' with the task, one of the things examiners are looking for. You can list videos, sites, social media, e-zines, books, newspapers etc.

Here's an example of how you might do this (probably at the end of your 12 pages).

BUT, you could also simplify this by doing a grid or collage of mastheads of books, sites, mags, papers etc you used for research, stressing this represents just SOME of your research. This approach would get you as much credit as the lengthier (longer?) list approach below.

This list style should not be used in formal essays by the way.

BIBLIOGRAPHY

A selected list of some of the sources used during my research.

Music videos viewed, analysed (YouTube links unless stated):

Miley Cyrus: Wrecking Ball; Pixies: Bagboy; [and so on…]

YouTube Artist Channels I Explored/Analysed:

Artist/Genre/Fan sites I visited:

Other Streaming Services I researched, including artist pages/channels:

Books, Newspapers, Magazines, E-zines used for research (including use of Amazon’s Look Inside and Google Books):

Simon Reynolds: Retromania;

Wikis I’ve researched:

Vevo; Music Industry/Big Three; Digital Distribution: Music Industry;

...