Thursday, 15 March 2018

10. My Planning Evidence (eg location report, risk assessment, timeline, storyboard, flat plan, script, recording script, shot list, top-down plan, cast list, costume and prop, hair and make-up references.)

Below are the evidence of my planning that helped towards the main production.

Character, casting and costume list: 

I created a cast/ costume list so that I would have an idea of who they were and what they would look like in advance. This is also useful to the actors as they would know what to wear and the props they need on the day to avoid confusion.


I created a timeline so that I was able to see the sequence of events that would occur and if it was able to fit in the strict 30 second time slot that was allocated. I also used this as a shot list, as I would tick the completed shots as I go along.


I created a storyboard for my advert as this allowed me to picture the shots that would be included in the scene, as well as including frame movement and shot type. Furthermore, this would also include the sound FX and music featured.

This is the Wave Logo.

  Shoot Schedule and Risk Assessment:

I created a shoot schedule, including the location, to avoid confusion as this will make the process of production easier. This is also useful for the actors as the dates are arranged in advance and they would know where to go on the date. A risk assessment is included in this to warn the actors of the risks when filming the advert. 

This is the design of the deodorant bottle that will be featured in the pack shot and the advert itself.

I created the branding of the product before the main production of the advert as the bottle itself needed to be featured in the advert. This was done through Photoshop and I printed out the design suiting the dimensions of another deodorant bottle. The Wave logo was also made so that there was an inspiration for the design of the bottle.

Friday, 9 February 2018

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

I filled in a table with information of my production planning. It includes the location of the production, on which days the productions will take place, the risks during the production itself and the people involved in it. This is useful as I will be able to give this to the actors to avoid confusion as they will know when the agreed date of shoot is and where we will shoot.

Monday, 5 February 2018

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

In order to ensure a successful outcome for my production, I intend to do some pre-production planning for my shoot.

I plan on:
  • Doing a location report. [Done 23/01]
The point of this is to get a sense of the locations that will be featured in the advert and see if it           is appropriate.We are then able to see the lighting around the area, be it day or night time, as               well as getting a sense of the amount of people that will be there, if it is a public area.
  • Creating a timeline of the TV advert. [Done 13/01]
The point of this is to see the sequence of events that will be featured, as well as the expected             duration of the shots, so that it will not go over the time limit of 30 seconds. It is a simplified               version of the storyboard.
  • Creating a storyboard. [Done 06/02]
The point of this is so that we are able to see a visual representations of the shots featured, as               well as seeing the flow of the shots and detailed description of the movement of the shots. This           is something that the actors are able to look at to see what they will do in the scene.
  • Creating a cast/costume/props/make up list. [Done 05/02]
The point of this is to avoid confusion and to not forget any important props that's needed in               the set. This will be given to the actors so that they will know what to bring and how to look.
  • Creating a shot list/ shoot schedule. [Done 07/02]
The point of this is for time management, so that on the day of shoot, no confusion is caused               as we would know when and where to shoot.
  • Brand name design-logo and pack shot. [08/02]
The point of this is to connote the brand value successfully through the logo. Also, as I will be             featuring a pack shot at the end of the advert, it is essential to create a design for the product               within in the advert itself and pack shot.
  • Rough edit of the advert. [09/02]
 The point of this is to see if the ideas, after editing will flow continuously, as well as to see if              some of the choices made, for example the soundtrack, is suitable for the advert. 

Therefore, having done these tasks before the main production will allow the process to be more efficient and therefore will hopefully ensure a successful outcome. 

Wednesday, 31 January 2018

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

When making a TV advert, I must follow the rules and regulations to be able to have an appropriate advertisement. During my research, I found that the Advertising Standards Authority (ASA) is the company responsible for this. Its role is to "regulate the content of advertisement, sales and promotion and direct marketing in the UK.". This can be found on the official ASA website here.

The following codes and rulings are some of the few that I had to take into consideration whilst planning for my TV advert:

  • Misleading advertising 3.12: "Advertisements must not mislead by exaggerating the capability or performance of a product or service." 
  • Misleading advertising 3.4: "Obvious exaggerations ("puffery") and claims that the average consumer who sees the advertisement is unlikely to take literally are allowed provided they do not materially mislead."
  • Harm and offence 4.13: ​"Advertisements must not portray or represent anyone who is, or seems to be, under 18 in a sexual way. However, this rule does not apply to advertisements whose principal function is to promote the welfare of, or to prevent harm to, under-18's, provided any sexual portrayal or representation is not excessive."
  • Privacy 6.1: "With limited exceptions, living persons must not be featured, caricatured or referred to in advertisements without their permission. Exceptions are made only for brief and incidental appearances, such as crowd scenes, and advertisements that refer to a person featured in publications, programmes, films and the like, providing that the reference to or portrayal of that person is neither offensive nor defamatory."

Despite having out these rules in place, there are still adverts that breach these rules and codes which in turn lead to the adverts being banned. For example, even well know brands such as Axe have produced controversial and banned adverts like the Axe "Touch" commercial, which was release in 2004. The advert was banned due to over sexualization of woman therefore infringing the Harm and Offense 4.13 code. Within the advert, we can see that as the male character opens the book, this leads to the woman's button being undone therefore revealing a lot of cleavage so it is deemed inappropriate as a TV advert.

Another more recent example of an advert that does not follow the ASA codes and convention, despite not being a deodorant advert is the Rimmel London mascara advert featuring Cara Delevingne. In this case, it breaches the Misleading Advertisement 3.12 and 3.4 code where the advert misleadingly exaggerated the product’s effect through the use of post-production treatment by airbrushing, which makes the eyelashes look bolder than its capabilities. Within the advert we are able to see ECU of her eyelashes which seem to be very bold therefore making the audience think that they are buying an exceptionally good product due to what is displayed on the screen. After purchasing the product, due to the extreme exaggeration of the effect, the audience's expectations will not be met, therefore being disappointed with the product and would've wasted money.

There are also many adverts that follow the rules and codes that are set by the ASA and turned out to be successful. Big brands such as Lynx, Dove, Nivea and many more do this well and therefore are able to advertise their products effectively whilst following the rules. A good example is the Lynx Soulmate advert where it follows all the rules and codes. For example it does not over sexualize anyone nor does it exaggerate the capabilities of the product. It has also not faced much problems in social media and therefore has no chance of being banned.

After researching the codes and rules of the ASA, this made me more aware of my representations in my own advert so that I do not break any rules. For example, I plan on having a female character that has exited the shower but is wrapped in towels so not revealing many body parts. Additionally, there is also no intention on having the female strike any sexual pose or gestures so will not breach the Harm and Offense 4.13 code. Furthermore in my advert, I have already asked for the character's permission to be featured in the advert with exception of the crowd scenes as I have some public shots. This therefore will not breach the Privacy 6.1 code. 

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

Through my research in many different TV adverts, I have found that the representation of events, issues and individuals is shows in different ways. For example, some may be shown in a more light-hearted manner, whereas some prefer to be more direct within their representation, despite having the same impact in meaning in the end. I therefore hope to incorporate and demonstrate some of these ideas into my own advert in order to communicate the meaning successfully.
An example of a TV advert that represents an everyday issue is the Always #LikeAGirl advert. Despite being a feminine hygiene advert and not a deodorant advert, the representation is done very effectively.

Another example of a TV advert that represents real-world events well is the Lynx Make Love. Not War advert. It features some realistic scenarios from wars where tanks, attack helicopters, "the red button" and armies are shown in a negative manner in the first half of the advert. However, as the advert progresses, the situation brightens up as the partners are reunited. Another scene also shows that pressing the red button leads to a firework display as opposed to the worst case scenario, a bomb of some sort. This therefore leads to an idea of false preconceptions and that things may not seem as bad as it is. For example, after only seeing the first half of the advert, an assumption may be made that a tragic war may occur due to the way we usually precept those scenes but quite the opposite occurs once the advert moves on.

A common way that TV advert represents a problem that is frequently occurring is through stress of an individual. The problem usually stems from having a large workload and responsibility, as shown in the Nivea men stress protect advert below, where we see that the main character is late to attend to their daughter's play and therefore having to enter after the appropriate entrance time so having to find an alternate way in. The usual convention is that having applied the deodorant, the problem is solved therefore we see the character making it just on time at the end by making a dramatic entrance into the show.

Overall, having done this research I have also decided to include issues within my advert to make it more realistic and relatable, however it will not feature such wide scale events like wars or battling for gender equality. I plan on having the "first date" problem where the character risks showing up late but the problem is resolved after the application of the deodorant. For example, the character will be too stuck in their game of football that they forgot about their date later that day and therefore having to rush home and hastily get changed from their dirty kit into a suit and tie.