Our Final Video


This is our final opening sequence for our film, A Sight For Sore Eyes.

Wednesday, 15 March 2017

Question 1: In what ways does your media product use, develop or challenge forms and conventions of real media products?

Our film is called A Sight For Sore Eyes, a mockumentary about a boy suffering with invisibility in his first year at university. It both follows and breaks conventions of the form and genre.

Here is a mind map abount typical genre conventions.


GENRE AND STYLE 

Our chosen genre was fantasy mockumentary, and we used many genre conventions (as noted in the above mind map) to convey the mockumentary style we wanted to achieve.

Trollhunter (2010).
What We Do In The Shadows (2014).









A common convention in mockumentaries is to use interview set ups with a character interview talking to an interviewer or just the camera. Trollhunter has interview set ups where the characters tell the audience information, while it still seems like an average shot (there are no inter titles/graphics, etc). However, What We Do In The Shadows has a more obvious interview set up, where the characters are sitting in one side of the frame, directly talking to the camera, mimicking interviews in real documentaries. We have gone with the obvious interview set up for our film, as we decided to fulfil the expectations of the genre in an almost tongue-in-cheek style.

Interview set up in A Sight For Sore Eyes (2017).
Waiting For Guffman (1996).
What We Do In The Shadows (2014).










The lighting and grading used in both Waiting For Guffman and What We Do In The Shadows is naturalistic to portray the documentary style. In What We Do In The Shadows, the lighting is dark, with very matte tones, as it works well with their vampire theme. However, Waiting For Guffman uses more everyday lighting with minimal grading, as it represents 'normal' life settings to relate more to the audience, whilst copying the documentary style. A Sight For Sore Eyes also uses natural lighting that you would find in an average home, as it better represents the characters and settings, and also portrays the genre.

A Sight For Sore Eyes (2017).

Another convention is the use of jump cuts. This puts emphasis on the unplanned documentary style of the film and  is also really convenient. We have used it because we did a lot of our takes with character improvisation to give it the naturalistic feel, so we had to make some jump cuts, as well as to follow the conventional documentary-style of our chosen genre.

What We Do In The Shadows (2014)

A Sight For Sore Eyes (2017)

Here is a presentation about the theories we looked at.

Question 2: How does your media product represent particular social groups?

We have represented a middle-class white British family with a stereotypical single mother figure and two teenage sons.
Kenny Lerone, played by Tom Brown.
He is Toby's identical twin brother.

Joyce Lerone, played by Finella Craig.
She is Toby's mum.









Toby Lerone, played by Ray Baker. He is the invisible protagonist.

REPRESENTATIONS OF THE FAMILY

The Outnumbered family - a middle-class white British family.



















We have chosen to stereotypically represent a non-nuclear middle-class white family. We have done this by using a classic mum character (see mind map below), and using two teenage boys. Also, we filmed in a Victorian house, typical of middle-class families in suburban London, which would be a typical place for the Lerone family to live.

REPRESENTATIONS OF THE EDGY MUM


Here is a mind map of the typical representations of edgy mums.

REPRESENTATIONS OF BOYS

JP and his friends from Fresh Meat. (Be aware that there is bad language in this clip).

JP is an example of a character that influenced us for Kenny's character. The clip is set in JP's old house that he grew up in, and shows the posh lifestyle he lives. There are many extravagant props they are using for everyday activities, such as using a sword to put jam on bread. JP's language is very posh, for example calling his mum "mummy", which is stereotypical of stuck up/posh teens in film and TV. We have sort of tried to replicate this character archetype with Kenny, as he calls his mum "mama", and generally acts quite narcissistic and stuck up.

 Viago's love story from What We Do In The Shadows.

We used Viago as an example of the soppy boy character trope, where he hopes for love and can never get it because of something outrageous. In this case, Viago is in love with a woman but cannot get it because his servant made a mistake. In our case, Toby wants love, but cannot get it because girls can't see him, and also he is a really wimpy character.

In our opening sequence we have represented two very different stereotypical male character types, one being posh, and one being pathetic.

Question 3: What kind of media institution might distribute your media product and why?

Our film is an independent film, so we have used multiple production companies to contribute management and finance. Our distributor is Focus Features, and the production companies include Film 4, BFI, and TriggertoaFilms.

OUR DISTRIBUTOR

Our distributor is Focus Features, a subsidiary of Universal Studios which distributes independent and foreign films in the US and internationally. This distributor has released other independent British films such as Suffragette (2015), The Theory of Everything (2015), and Brokeback Mountain (2005) (all of which have also been funded by the BFI).

OUR PRODUCTION COMPANIES

Here is a presentation on the production companies we chose and why we chose them.


OUR MARKETING STRATEGY AND RELEASE

Please click on the flowcharts to view them full screen.

American Honey marketing.
A Sight For Sore Eyes marketing.


Question 4: Who would be the audience for your media product?

The target audience for A Sight For Sore Eyes is fans of the mockumentary genre, aged 15-25. Our secondary audience is a global audience of all ages, including fans of comedy and independent films.

A mind map of typical mockumentary audiences:


A slideshow about our target and secondary audience.

Question 5: How did you attract/address your audience?

We have used a number of genre conventions and film conventions to appeal to our audience.

Please click on the table to view it full screen.


Inter titles in What We Do In The Shadows.
Antony in What We Do In The Shadows.

Our audience feedback video.

We obtained qualitative data for our audience focus group. The group we used for our audience feedback was made up of our school friends. Sian and Meera are fans of the genre, while Lily and Ross are fans of comedy and independent films.

Things our audience enjoyed:
  • They all really enjoyed the sequence and thought it was really funny, and some said they would watch the film if it was real. This shows how we have appealed to and gratified the expectations of the audience in the comedy aspect of the genre.
  • They all liked Joyce and Kenny as comedy characters, and I am glad that these exaggerated and almost relatable characters were effective in creating humour for the audience to enjoy.
  • Lily mentioned that she liked the juxtaposition between the "normal and not normal" idea, as we have made something unreal seem normal. Ross also mentioned that he liked how it "started all deep and serious", and then became funny afterwards. They both enjoyed how we have conveyed the genre using typical forms and conventions.
  • They all remembered the title from what they had seen, and mentioned that they liked the pun in the title, which adds to the comedy of the overall piece, gratifying both the primary and secondary audiences.
  • Sian and Meera liked Joyce's comedy moments such as drinking on the Wii Fit, talking about Stacey, and going on Tinder. This again ties into the comedy characters and how we have used them to gratify audience expectations of the genre.
Things our audience think could have been better:
  • They were confused by the line "I'm excited, but nervous. Still excited, but still nervous.". I think we had trouble with this line throughout production, so if I were to do the project again, I would probably change that line.
I am pleased with our audience feedback, and I think that our opening sequence really worked in gratifying the audience's need for the genre. I am pleased that they enjoyed the juxtaposition between the serious-style of the sequence compared with the comedy in the idea of the film. Also, Joyce and Kenny really worked as comedy characters, which I am particularly pleased with, because I think trying to use comedy in general is quite risky. Lastly, I agree with the feedback in that the "excited but nervous" line is a bit out of place, and if I were to spend more time on the project, that is something I would change.

Question 6: What have you learnt about technologies from the process of constructing this product?

Throughout this projects, we have had to use technological convergence in order to be able to edit, film, and work efficiently and to a high standard.

Here are some photos from the filming and editing days.


HARDWARE


Here is a table about what hardware I used and what I learnt about it.


SOFTWARE 

Pre-production:

  • Social media - I have gained a wider range of social media usage, and have learned how to make private groups and lists on social medias such as Wunderlist.
  • Blogger - I learnt how to use Blogger efficiently, including embedding web tools and giphs, images, and videos and altering the HTML in order to create a nicer layout.

Post production:
  • Adobe Premiere Pro - I learnt how to grade much more effectively, including the use of 3-way colour correcter, which I had never used before. As you can see in these stills, I didn't do any grading until the main shoot, where I got to learn how to grade, making the shots much brighter and warmer.