New Blog for Yr11 Students

This is the blog for last year's cohort. To access your own blog with updated information and assessment data, follow this link.

11th May

In today's lesson we will revise the skills required to address all of the questions on the exam using the following extract;

Year 11: Week 28

In this week's lesson you focused on the construction of a model answer to question 4b; the comparison of audience pleasures for 2 TV comedies.

Here is a copy of my model answer (use for revision and to improve your own model answer);

Click to enlarge

I've also supplied you with a marking criteria that lists the information you should try to include in your answer. Here is another copy of this criteria;

Click to enlarge

Year 11: Week 27

In today's lesson you constructed model answers for the TV comedy scheduling question (4a) when asked to compare two different comedies. Here is one model answer for you to consider;

Click to enlarge

You were also given a marking criteria that lists the information you should try to include in your answer. Just in case you find that more useful, here it is;

Click to enlarge

Year 11: Week 26

At the start of today's lesson there is a brief Socrative test where you have to identify and explain the contrasting scheduling strategies for Outnumbered and A League of Their Own. Sensible students will revise prior to the lesson! This addresses the 'compare' variation of question 4a on the exam.

In next week's lesson, there is a good chance that the Socrative test may focus on the comparison of audience pleasures between the two programmes, addressing the 'compare' variation of question 4b on the exam. I suggest you use the Case Study Comparison Tables to revise (see previous post).

Reminders for Mr Hood

• Lydia - Complete your Production Portfolio (book a day to stay after school)
• Kaitlyn - Complete your Production Portfolio (book a day to stay after school)
• Define MOA accurately (show what isn't a MOA - different subject or object being filmed)
• Define diegetic & non-diegetic vs synchronous & asynchronous
• Differentiate between zoom, tracking shot and close-up

Following the introductory Socrative test, today's lesson will be centred around answering the following objective questions;

1. How did I perform in the recent mock exam? (Hot Fuzz extract)
2. How could I improve my exam performance?
3. What are the requirements for Q3 of the exam? What are stereotypes? What are anti-stereotypes?

To address objective questions 1 & 2, you will be given some time to reflect on the feedback you received from the mock exam. I have used the actual mark scheme to identify the level of your answer. After examining the feedback, identify one or two ways in which you could raise each answer to the next level. Use the mark scheme criteria to help you. Write these targets on the back of the mock exam paper (the blank rear page) and use them to improve your approach to the next mock exam.

To answer objective question 3, we will discuss stereotypes and anti-stereotypes in the context of some of the following;

• Age (Youth / Old age)
• Gender (Men / Women)
• Race & Nationality
• Class (Upper Class vs Working Class)
• Authority (Police / Army / etc)
• Criminals & Villains
• Heroes / Superheroes & Sidekicks
• 'Damsel' or 'Dude' in Distress
• Aliens
• The English Country Town
• A Big City
• A Futuristic World

We will use Padlets to share our ideas in a timed response exercise (you will only have 2 minutes to collectively complete each category). You must label each Padlet contribution with your own name. We will examine the responses for each category, making sure that the stereotypes and anti-stereotypes are generally recognised (not necessarily accurate though - discuss!) before taking screenshots to use as revision resources.

Key Language When Discussing Representation

• Stereotype / Stereotypical
• Anti-stereotype / Anti-Stereotypical
• Binary Opposition (good vs evil, rich vs poor, man vs woman, etc)
• Stereotypical attributes or character traits
• Convention(s)
• Cliche

Out-of-Hours Learning

• Complete the remains Padlets, submitting at least one stereotype and one anti-stereotype for each category. Don't forget to label each contribution with your name.

Next Lesson

• Turning the identification of stereotypes / anti-stereotypes in an exam extract into an exam answer (point + explain + example using media language).

Incomplete B324 Portfolios - No Grade Currently Awarded (HOO)

Lydia

• No target audience research
• No post-shoot script
• No evidence of audience feedback analysis / making improvements
• Incomplete Production Diary (compulsory part of submission)

Kaitlyn

• Incomplete Production Diary (compulsory part of submission). You told me this was finished and yet there are blank dates in your diary!

Unfortunately, failure to meet the extended final deadline for the submission of the portfolios above will mean that no mark can be entered into the target grade document and, consequently, no target for Unit B322 can be identified (as the portfolios are currently awarded a 'U'). The marking of these portfolios will now have to take place at the end of the course, immediately prior to submission to the exam board, providing no opportunity to address weaknesses.

Year 11: Week 25

Here is a final copy of the Outnumbered vs A League of Their Own comparison table...

Click on the table image to see more detail.

In today's lesson we will test your ability to complete Questions 1, 2, 4a & 4b under examination conditions. You should divide your time as follows;

Question 1 = 10 minutes (10 marks)

Question 2 = 20 minutes (20 marks)

Question 4a = 15 minutes (15 marks)

Question 4b = 15 minutes (15 marks)

Good luck! Have a nice Easter break (and by that I mean...revise!)

Schadenfreude

Having trouble spelling 'schadenfreude' in the Socrative test? To support you in the exam, the password for this blog will change to schadenfreude on Thursday! Let's see how many people end up viewing the Scalextric website!

Much Happier Teacher (HOO)

Here is a summary of the recent Outnumbered audience pleasures retest;

You can see that not only are there many more 'greens', there are also many 'purples' meaning that many of you went beyond giving just the CORRECT answer and supplied an answer that I would describe as COMPREHENSIVE. Well done to those folk!

Here are your final scores (% of correct answers);

Katy 100%

Georgia 89%

Kaitlyn 61%

Peter 100%

Lydia 83%

Louis 83%

Marc 89%

Brad 33% (must retake test)

Lauren 50% (must retake test)

Sam 100%

Tom 94%

Ellis 94%

Rhys 83%

Joel 94%

Conor 83%

Dan 66%

Charlotte 94%

You see details of the summary detail, click here. Why not check out some of the purple answers?

The next target for everyone; 9 purples!

Outnumbered Revision Song

Just some words & images to help you remember the different scheduling strategies employed over the 5 series of Outnumbered. The chorus summarises the 3 audience pleasures that you must remember.

Remember, you need to know more detail that suggested by this song; these are just the headlines!

Year 11: Week 24

In this week's lessons you will answer the following questions;

1. What are the similarities and differences between Outnumbered and  A League of Their Own? (These are our two case studies)
2. How is mise-en-scene used to create effect in the extract from The Hurt Locker?

To answer question 1, you will start by watching an extract from A League of Their Own. You will then complete a comparison table (available here) to record your observations and thoughts. You should ask yourself the following key questions;

• What is the difference between the two channels?
• Are the two programmes broadcast on the same day at the same time? Why / why not?
• Why is ALOTO broadcast at that time on that day?
• What type of person would watch ALOTO? Who is the target audience? What makes you think this? Is this a different target audience to Outnumbered?
• What would the target audience find appealing about ALOTO? How are these audience pleasures different or similar to the reasons people enjoy Outnumbered?

Download and complete the sheet (this is the draft version). You can use the ALOTO case study on our TV Comedy blog to help too. Print a copy of your table and put your name(s) on it. Hand your sheet in before you leave the lesson. Your teacher will take the best responses and transfer them to a final version of the table that we will share (for revision purposes). There will be Vivos for every student suggesting a response that makes it to the final draft! Students not attempting to contribute enough ideas to the final draft will not be given a copy of the final document and will be required to complete the draft document again in their own time ('cos that would be social loafing and that's a bad thing when working as a team!).

To answer question 2, we will revisit the exam clip that we looked at last week. You should consider how mise-en-scene is used to create meaning in this clip and complete the final (currently empty) box from last week's sheet. Once again, we will share your suggestions.

At the start of the second lesson you will also retake the Outnumbered audience pleasures test from last week. Any student not achieving a full set of 'greens' this time will be required to resit the test in their own time (it is, after all, just a case of learning the 9 answers that I've given you).

I have also got hard copies of the question 1 revision Powerpoint (how the extract fits the action adventure genre) so that you can revise away from a computer/internet. Why not use these resources during reading time in tutor groups? Learn the 8 ways in which the clip MAY fit the action adventure genre so that you can write confidently about 2 ways that it DOES in the exam.

Not a Happy Teacher (HOO)

Here are the test results from the audience pleasures test.

In a test where you knew you were having it, you knew what the questions would be and you had been given the model answers beforehand, this is unforgivable. Very few folk performed anywhere near as well as I would expect (Ellis, Joel & Tom are exceptions). Therefore, we will be having a retest and students who fail to achieve a row of greens this time will retake the exam again and again (in their own time). You can't expect to pass any exam without revising and this is one of the most straightforward exams ever...we know the questions beforehand! Remember, I recommend reading one of the model answers every night or all of the model answers every other night (will take less than 10 minutes). You must also be careful about what you write; "like a fly on the wall" is not a correct answer! Spiderman is like a fly on a wall! Outnumbered is "like a fly-on-the-wall documentary". Also, you must give narrative examples from the series and episodes you identify. You can't just say "series 1, episode 1". What about it? Talk about what happens in that episode; how the content of that episode supports your point.

In an attempt to support you further, here are the answers to this test...again;

Audience Pleasure 1

Q1 Identify : Outnumbered is like a fly-on-the-wall documentary (shares documentary production values) which will appeal to the middle class target audience.

Q2 Explain : It's like a documentary because it uses hand-held camerawork and doesn't follow normal sitcom conventions such as the use of a lighthearted theme tune, the use of canned laughter or the use of catchphrases. The script is also semi-improvised adding to the sense of reality. All of these things provide the audience with a sense of verisimilitude.

Q3 Example : In series 1, episode 1 "The School Run", during an argument between Pete and Ben (father and son) over Ben wanting to take a drill to school, the shaky hand-held camerawork is used to represent the chaos and tension of the real-life situation. 

Audience Pleasure 2

Q4 Identify : Feelings of schadenfreude is another audience pleasure (you must spell this correctly).

Q5 Explain : This is where the audience takes pleasure from the misfortunes of the characters, making the audience feel like better parents or having a less dysfunctional family.

Q6 Example : In series 2, episode 3 "The Old-Fashioned Sunday" the parents attempt to have a family day without watching any television. However, after arguments whilst playing games, the parents give in and they all end up watching television.

Audience Pleasure 3

Q7 Identify : Narrative resolution is another audience pleasure.

Q8 Explain : Every episode can be watched in isolation from the rest of the series as all of the issues raised at the beginning of each episode (disruptions) are resolved by the end of the episode (new equilibrium). There are no cliffhangers, as there are in soap operas, and few ongoing storylines (Sue's Dad's health being an exception).

Q9 Example : In series 5, episode 6, all of the issues are resolved; Karen finds her missing hamster, Sue's argumentative sister leaves and Ben, after suffering from stage fright throughout the episode, eventually performs in public in his school play.

We have also made a video to help you remember the headline scheduling and audience pleasure information for this case study (see post below). However, they are only the headlines and you will need to add more detail.

Year 11: Week 23

Ok, so we didn't finish last week's lesson and we still have to address Question 2. We will address this during this week's lessons.

But first there is a Socrative Test. Everyone must answer questions identifying, explaining and giving the correct example for each of the audience pleasures associated with Outnumbered (and we will keep doing this until they become second nature so that you will still remember them when feeling under pressure in the exam).

Then, in today's lesson, you will answer the following questions;

1. How well developed is my understanding of how soundtrack is used to create effects in action adventure films? What are the gaps in my understanding and how can I fill those gaps?
2. How well developed is my understanding of how editing is used to create effects in action adventure films? What are the gaps in my understanding and how can I fill those gaps?
3. Can I apply my understanding of camerawork, soundtrack and editing to an exam question, identifying how each of these are used to create effect in a single clip?

To address questions 1 & 2 we will go through each of your Media Language Tables, suggesting and agreeing common ways in which soundtrack and editing are used to create effect in action adventure films.

To answer question 3, we will then examine a single extract from a past paper and deconstruct the use of camerawork, editing and soundtrack to create effect. You will work alone, dividing an A4 sheet into the four technical areas to be considered in the exam (mise-en-scene will remain blank today). You should identify your POINT and be prepared to EXPLAIN and give an EXAMPLE from the extract when asked to present your answer to the class. You should also attempt to use the correct TERMINOLOGY for each technical area.

Having provided revision materials that will allow you to secure many of the 30 marks available for questions 4a and 4b (scheduling and audience pleasures information for our TV comedy case study), we have constructed another one for question 1 that will secure another 10 marks (identifying how events and characters of exam extracts fit the action adventure genre). You must use this resource to learn the 8 possible answers (you will only be asked to identify 2 in the exam, but not all will apply to every extract, so you need to know all 8). A copy of this resource has also been posted on the Action Adventure Blog (see sidebar).

That's 40 of the 80 marks for this exam almost secured! (we still have to do the comparison bit of question 4 using our much smaller A League of Their Own case study). The work we are doing on Question 2 (camerawork, editing, soundtrack & mise-en-scene is worth another 20 marks!). We are certainly getting there!

Out of Hours Learning

•  Watch series 5, episode 6 of Outnumbered. This is the last of the episodes that you will use as an example of an audience pleasure. You can access the episode via our TV Comedy Blog (see sidebar) or directly from here. (29 minutes)
• Read your outnumbered case study & model answers (10 minutes daily)
• Learn the 8 ways in which the events and characters of an exam extract may fit the action adventure genre (see Powerpoint above) in preparation for next week's Socrative Test.

Year 11 : Week 22

In this week's lessons you will answer the following questions;

1. How did I perform on the Outnumbered case study test and how can I address gaps in my knowledge?
2. How well developed is my understanding of how soundtrack is used to create effects in action adventure films?
3. How is editing used to create effect in action adventure films?
4. How well did I perform in Unit B324 (Production Portfolio)?
5. What mark do I need to achieve in the exam (Unit B322) to secure my target grade?

To answer question 1 you will need to review the printout of last week's test and the STAR Marking feedback attached to it. Mr Hood's class can also access a copy of the results here (with model answers). You must then log in to this week's Socrative test and respond to the actions identified on the STAR marking feedback sheet. List the questions/gaps you have addressed in the 'Response' section of the STAR marking sheet and hand the printout back to your teacher please.

To answer question 2, we will go through the Soundtrack Media Language Table you completed during out of hours learning (so make sure you have!). Your teacher will test your ability to recognise, define and explain the techniques and terms listed on the sheet. You should make alterations and improvements to your sheet as we review your understanding.

In order to start answering question 3, you must RAG assess your current ability to define and recognise the techniques listed on the Editing Media Language Table that will be distributed. This will be completed during out of hours learning (do not suggest effects or connotations yet though).

To answer question 4 your teacher will hand back your production portfolios and identify the marks and grades that you have been awarded (although this is still subject to internal and external moderation). As an individual, you will add just two pages to your portfolio in order to complete it;

• A moving image media language summary page (individual)
• A contents page (after numbering all the pages in your portfolio)

There are some students who will not receive their mark back yet as they failed to complete some essential parts of the portfolio and, therefore, it can't be marked (it would score 0). The most common missing element is a completed Production Diary. The Production Diary is a compulsory part of your Production Log and we can't submit your work without one! Your teacher will identify these individuals and arrange an after-school intervention session, using some of the controlled hours you still have in reserve! 

To answer question 5, your teacher will provide you with a target mark sheet that you should place in the front of your B322 folder. It will identify two targets;

1. An aspirational target mark (the one we want you to aim for! This is a mark that you will need to achieve an overall grade above your current grade or to secure the highest achievement)
2. A secure target mark (a mark that secures your existing or most likely overall grade)

Obviously, these targets suggest a threshold (grade boundaries) and the more you can score above these targets, the more secure the outcomes become. We'll explain more in your lesson. At a later date, we will take your target mark and distribute it across the exam so you know how much you need to score on each question (we will base this on your strengths and previous performance indicators).

Out of Hours Learning

• Complete the Editing Media Language Table RAG assessment (not effects or connotations)
• Revise camerawork & soundtrack terminology that is insecure (identified as 'amber' or 'red')
• Read your Outnumbered case study model answers again in preparation for another test.
• Watch Outnumbered series 2, episode 3 "The Old-Fashioned Sunday". You can access this episode via our TV comedy blog (see sidebar) or directly from here.

Next Lesson

• Outnumbered audience appeals list.
• Focusing of the use of editing to create effect (following on from OHL).

Year 11 : Week 21

This week's lessons are divided into two parts. Everyone must completely finish part 1 before moving on to part 2.

Part 1 (addressing B322 Q4)

In this lesson, you will answer the following questions;

1. What is the information I must know for TV Comedy Case Study 1, Outnumbered?
2. Can I use the case study information page to identify a scheduling strategy for series 3 of Outnumbered?
3. Can I use the case study information page to identify 3 audience pleasures for Outnumbered?

To address question 1, you should read Case Study 1 (Outnumbered) on our TV Comedy blog. You can access the blog in the sidebar to the left or the Outnumbered page directly here. There are also paper copies of the case study available and you should take one home for revision purposes (if you read a little of it every night, you'll soon commit the facts to memory). You can also annotate or highlight points in your personal paper copy. The model answers at the back of the booklet are the most important pages! If you can learn and remember these model answers, you're well on the way to bagging the 30 marks available for questions 4a & 4b. It may take you a while to read the case study, but take your time and make sure you understand what is being said. Ask another student or your teacher if you are unsure of any meanings, etc. You should read the case study independently unless instructed by your teacher to work with a partner (providing mutual support to help you both fully understand the case study). 

To answer questions 2 & 3 you should log in to my Socrative page and answer the Outnumbered quiz. You can refer back to the case study page on the blog or the paper booklet to help you this time ( but you'll have to recall the facts from memory for future tests). You should work in pairs to answer the test, going through every question together and agreeing an answer before continuing. You must finish this part of the lesson (and the test) before moving on to part 2 of the lesson (regardless of whether it's lesson 4 or lesson 5).

Part 2 (addressing B322 Qs 1-3)

In this part of the lesson, you will answer the following questions;

1. What is the media language relating to soundtrack?
2. Would I be able to define and recognise examples of this media language?
3. How is soundtrack used in action adventure films to create effect?

Once again, I will provide a list of media language relating to today's area of study (soundtrack today) and, once again, you should RAG assess your current ability to define and recognise these examples. As you did with the camerawork table, you should then devote time to investigating definitions and suggesting audience effects / connotations. You can work in pairs or small groups and you can use the Film Terminology Revision page in the sidebar to help you.

When you have finished this piece of work, you should have completed reference documents for both camerawork and soundtrack. That just leaves editing & miss-en-scene! Bring your completed camerawork and soundtrack tables to next lesson (to be handed in).

Out of Hours Learning

• Watch Episode 1 of Series 1 of Outnumbered, The School Run (29 mins). You can access the episode here or on our TV Comedy blog (see sidebar). Other details from this episode will form part of next week's Socrative test!
• Complete your individual Soundtrack Media Language Table and bring to next lesson, along with last week's Camerawork Media Language Table (both to be handed in for marking).

Next Lesson

• Outnumbered Socrative Test.
• Completing Media Language & Contents pages for your Production Portfolio (B324).
• Investigating the use of editing to create effect.

Year 11 : Week 20

Once again, a quick Socrative Test to get us started (B322 Test 2). Let's hope nobody get's any of last week's questions wrong!

You will also get your action adventure film reviews back and be given time to respond to the feedback you received.

REMINDER: Somebody remind me to tell you about the TV Comedy Case Study Booklet (coming to a classroom near you...soon!)

To start the lesson, the groups that talked through their responses to questions 1 & 2 of the Knight & Day extract last lesson (the folk in the Media Suite) will answer the following question;

1. Can I turn my Knight & Day essay plan for question 1 into a coherent, structured, hand-written response, paying particular attention to spelling and grammar?

You will only have 10 minutes to write your response (that's about how much time you should spend on this question in the exam). Remember, there are 10 marks for this question and you are aiming for a minimum of 55 marks altogether! Marks are deducted for poor SPAG and presentation. I will collect your responses and mark them (don't let me forget to collect them this week!)

Whilst this group of students are completing this task, the students who worked in the Media Work Room last week will answer the following questions;

1. Can I clearly identify two ways in which the Knight & Day extract fits the action adventure genre.
2. Can I explain how soundtrack, editing, mise-en-scene & camerawork are used to create effects in the extract?

To answer these questions, we will talk through your responses. You can make additional notes in response to other students' contributions. 

Once I am satisfied that we are all able to meet the requirements for question 1 (identifying two ways in which extracts fit the action adventure genre), we are going to start our investigations into each of the elements for question 2 (camerawork, editing, mise-en-scene & soundtrack).

Camerawork

In today's lesson you will answer the following questions;

1. What is the media language relating to camerawork?
2. Would I be able to define and recognise examples of this media language?
3. How is camerawork used in action adventure films to create effect?

To answer questions 1 & 2, I will provide a table of media language relating to camerawork. You must then audit your current understanding by RAG rating your ability to define and recognise examples of this media language. Only mark the language that you would be confident using as 'green'. You should use this audit to plan revision and set yourself OHL. I will collect the audit at the end of the lesson and use it to plan questions for individuals (evil laughter!). 

We will then review extracts from the selection of films on the Film Terminology Revision page (see sidebar), suggesting how each of the techniques could be used to create effects in action adventure films. You will record these suggestions in the camerawork table, building an archive of potential answers that you can use as a revision resource. We will be working in two groups; one working independently and the other working with me in the Media Suite. However, we will do the first couple of examples together to set a benchmark standard!

Out of Hours Learning

• Update the Lesson Evaluation Document (I need to know if you understood the lesson).
• Address any wrong answers in the Socrative Test (in preparation for next week's test)
• Revise the media language relating to camerawork that you identified as 'amber' or 'red'. Use the revision pages in the sidebar.
• Revise the potential ways in which each camerawork technique could be used to create effect (the last column in the table), adding more information where there are gaps (to be handed in next lesson).

Next Lesson

• You will be tested on your ability to discuss how camerawork has been used to create effect in a short action adventure extract.
• You will investigate the use of soundtrack to create effect.

Year 11 : Week 19

What about a quick Socrative Test to start? Let's see what you remember from last week's lesson? You must also hand in your action adventure film analysis that you completed for OHL.

In today's lesson you will answer the following questions;

1. How do I structure an exam response? (essay / paragraph)
2. Can I identify two ways in which the narrative (characters & events) in the extract below fits the action adventure genre?
3. Can I explain how soundtrack, editing, mise-en-scene & camerawork are used to create effects in the extract below?
4. Can I discuss the representation of gender in the extract below?

You will not write your response out in full but you will, working in small groups (identified by me), prepare an essay plan using the PEE structure (Point, Example, Explanation). You must also use correct technical terminology (see Moving Image Analysis Tool in the sidebar). In the second half of the lesson you will feedback your ideas to the rest of the class. Completing this exercise will establish your current level of knowledge and determine our next steps for learning.

Year 11 : Week 18

AT THE START OF TODAY'S LESSON YOU WILL COMPLETE A PEER SATISFACTION SURVEY FOR UNIT B324. MR HOOD'S CLASS CAN ACCESS THE SURVEY HERE.

In today's lesson we will answer the following questions;

1. What are the requirements of Unit B322, the examined unit?
2. What defines film genres, sub-genres and hybrids?
3. What are the common codes and conventions of Action Adventure films?
4. What are Todorov's, Propp's and Levi Strauss' narrative theories?
5. How can I get a head start with the TV comedy questions, prior to addressing them in class?

To answer question 1 we will look at a selection of exam papers; identifying common elements that we can anticipate and plan for. We will use the exam papers presented on this blog page. You will work in small groups, be assigned an exam question to review and one person from each group (my choice) will be asked to feedback to the group (tell everyone what you have to do in that section of the exam). We may also review the mark scheme on this page to identify the expected standard of your response under exam conditions (or maybe next week).

We will revise NICS (remember?) in an attempt to define genres, sub-genres & hybrids. We will use the Slideshare presentation on this page to help us. We will also revise denotation and connotation using appropriate hand gestures!

When investigating the answer to question 3, following an audit of what we already know, we will use resources on this blog page to remind us of all the codes & conventions of action adventure films.

Back to small groups for question 4 (different ones). Use your memories, our teaching blog and the internet to prepare definitions for each of these narrative theories. 

To address question 5, and to enable you to get ahead of the game, we will introduce you to the TV comedy case studies on this dedicated blog. Repetition & familiarity is the key to success here, so read the Outnumbered case study for question 4a here in preparation for weekly socrative tests!

Out of Hours Learning

• Identify an action adventure film that you want to watch. Watch the whole film. List all the ways in which this film follows the codes & conventions of the action adventure genre. Consider NICS and the related narrative theories (Todorov, Props & Levi-Strauss). Be prepared to share your findings with your peers next lesson. You should complete your homework, written by hand, on a piece of A4 paper; to be handed in next lesson. If you need paper, please ask today.
• If you want an advantage, read the exemplar answer for question 4a for Outnumbered, our first case study (see link above). Familiarity with the case studies is the key to success on this part of the exam!

INFORMATION

You have completed Unit B324 (Production Portfolio).

Your portfolios will be assessed ASAP and you will be informed of the mark/grade you achieved.

We must now focus on the remaining 40% of the course; the exam!

Mrs Macey's Group

As you can see, some of you have a lot of work to complete for OHL over the next 2 weeks.

Year 11: Weeks 16 & 17 (Controlled Hours 27, 28, 29 & 30)

You now have 4 hours (2 weeks) to plan and write your Evaluation (800 words). You must work independently under exam conditions.

Level 4 Success Criteria

• Detailed evaluation of the monitoring of decisions and revisions.
• Detailed discussion of how the brief related to research into similar media texts.
• Detailed discussion of how the brief related to research into target audiences.
• Excellent understanding of the forms and conventions used in the production.
• Excellent understanding of the significance of audience feedback.
• Excellent ability to communicate.
• Thorough evaluation of the success of the finished media text in meeting the original brief.
• An accurate command of appropriate medium-specific terminology.

Evaluation Prompts

Use the following 7 prompts, in order, to plan and write your evaluation.

1. Explain the brief and the process of selecting a topic for your documentary. Explain your reasons for wanting to investigate a particular topic, perhaps briefly describing your initial ideas. State who you worked with, using their full names. How did you allocate roles to each individual?
2. Describe the research you undertook and why you chose particular documentaries to study. Discuss their target audience and how they might appeal to those audiences (audience pleasures).
3. Describe the forms and conventions you observed during your research and how you planned to utilise these in your own production (use medium-specific terminology).
4. Describe the key decisions you had to make before and during your production and explain the reasoning behind them.
5. Describe changes and revisions you made during production and post-production. Evaluate whether these had a positive or negative impact on your production.
6. Describe the audience feedback you have received and assess its validity. How did this audience feedback help to shape your final production?
7. Explain how successfully you think your finished production meets the original brief. What do you think is particularly effective and what would you do differently if you repeated the exercise?

Do not copy these prompts into your evaluation. Write a continuous response, making the prompts implicit. Remember, write "I" not "we" where you can.

Your original brief was;

Produce an extract from a new television programme; a documentary style report for a new current affairs programme, together with a storyboard. The sequence may include titles. Maximum length: three minutes. Each group member is expected to take on a specific role such as director, camera operator or director.

Evaluation Checklist

Use the following checklist to make sure you've got everything covered.

• I have described any problems I had during the production process and how I overcame them.
• I have described why I may have changed original ideas and how they were changed.
• I have explained my choices regarding the codes and conventions (camera angles, mise-en-scene) which were included in my final production and why they were selected to be in the production and how successful they were.
• I have explained how I attracted my target audience, making reference to my research and the types of pleasure I intended to offer my target audience.
• I have explained how successful I was in engaging my target audience, making reference to any feedback I have received from my peers and target audience members.

Here is a marking grid suggested by another school. Use it to self-assess your completed Evaluation;

Out of Hours Learning

• Complete all R&P elements in preparation for final submission next week (see countdown).

Year 11: Week 15 (Controlled Hours 25 & 26)

You only have these two hours to complete the storyboard for your documentary. You can't spend any time away from the lesson on this task either. You must work as an individual, without input from any other members of your group. You will have access to your completed documentary (posted in sidebar) so you don't have to do anything from memory.

You should take a two-part approach to the completion of this task.


Part One : Draw Your Storyboard

Draw a storyboard frame for EVERY shot in your documentary (every time you cut to a new shot, you need a new storyboard frame). Include text elements such as lower-third titles and give an impression of EVERYTHING that you put in the frame (including backgrounds). It is ok to use stick people, but make sure that you present the correct shot distance and framing. This doesn't have to be a masterpiece, but it does have to be accurate. You are not expected to colour in your storyboard (but you can identify colours of objects using pencil crayons if their colour is important - you can just draw a sample colour patch on your storyboard without colouring the whole object or frame).


Part Two : Annotate Your Storyboard

Annotate your storyboard to present important information. Things you should include are;

• Storyboard frame number. (goes in the box above each frame. Start at 1...)
• Transitions (how a shot moves to the next. E.g. dissolve, cross-fade, straight cut, split edit, etc). identify the transitions in the boxes in-between frames on the storyboard.
• Camera movements. Use arrows to identify camera pans, tilts, zooms & reverse zooms (using 3D arrows will help to differentiate between a tilt and a zoom). Draw these directly into your storyboard frame.
• Shot Type. Use abbreviations such as ECU for Extreme Close-Up. Identify the shot distance or type for every frame in your storyboard. Write these in the information box below each frame. Use the shot distance reference guide in the sidebar to help you.
• INT or EXT. Identify each shot as an 'interior' (indoor) or 'exterior' (outdoor) shot. Just circle correct description in the information box below each frame.
• DAY or NIGHT. Identify the time of day by circling the correct description in the information box.
• Details. What is this a shot of? E.g Interview with Headteacher or Establishing shot of factory, etc.

Don't forget to number your storyboard pages and identify the name of your production at the top of every storyboard page too.

Here is a picture of the storyboard template we normally use in our dept. You are welcome to use it or you can find, or draw, your own. The benefit of using the existing template is that we have lots of copies already photocopied and ready for use.

Merry Christmas!

Year 11: Weeks 13 & 14 (Controlled Hours 21-24)

Don't forget to read the new posts published below this one first!

You now have two lessons to complete the following;

1. Your Documentary!
2. Your Production Log!

You can re-film elements of your documentary in your own time (spending as long as you want on it) but you can only edit in Final Cut during the 4 hours of lesson time we have assigned to this task. You must not open Final Cut at any other time. If you wish to re-record voice-over elements at quieter times when the rest of the class aren't there (lunch or after school), the time will be added up and included as part of the formal time limit for the unit (maximum of 30 hours).

Your Production Log (not including the Storyboard) must be completed as OHL, in your own time. Use the checklist and the progress grid to check which elements still require work.

Peer Satisfaction Ratings & Distribution of Final Marks (HOO)

Some of you are yet to prove your true value to the group and, as a consequence, are unlikely to be awarded the full value of marks for your documentary. You have another 2 weeks to demonstrate how valuable your input is; I suggest you make a real effort to contribute both in the lessons and to sessions arranged at other times (re-filming, recording voice-overs, etc).

Currently, a summary of how I may distribute the marks for your product is represent by the chart below. You can only compare to other members of the SAME group - comparing with other groups DOES NOT WORK! (The explanation is complicated). So, the person with the highest rating WITHIN YOUR GROUP will get the full value of marks for your product. Group members rated significantly below this will only be awarded a percentage of the marks.

Click to Enlarge

Presenting Audience Feedback

Following last week's lesson, you probably have two types of audience feedback;

1. Extended written responses
2. Scores (marks out of 10 perhaps)

You must use this feedback to demonstrate the following workflow;

EXHIBITION OF ROUGH CUT

⬇︎

AUDIENCE FEEDBACK

⬇︎

ACTIONS TO IMPROVE PRODUCT IN RESPONSE TO AUDIENCE FEEDBACK

⬇︎

IMPROVED FINAL PRODUCT

You've completed the first two stages, but now you have to analyse the feedback so that you can respond to it, suggesting improvements that you could make to your product. This is one method of achieving this aim...

Presenting 'Extended Written Response' Feedback

Here is an example of what I would do:

Q5) How could our documentary be improved?

In response to this question, 75% of those questioned suggested that improvements could be made to the soundtrack. The balance between the production music, the voice-over and the narration seemed to be their greatest concern. Most identified the use of sound effects in the reconstruction scene as a strength.

ACTION : Remix the balance between the production music, voice-over and interviewee dialogue, ensuring that every word can be heard clearly.

Presenting 'Scores' Feedback

In Excel, make a frequency table identifying what percentage of those asked responded in a particular way. Turn this table into a chart (I've use a pie chart). Don't forget to suggest some actions that may improve your scores though. Here are some examples;

ACTION : Improve the balance between the production music, voice-over and interviewee dialogue to improve overall quality of sound editing.

ACTION : Stabilise the one or two shaky shots (between 01:24 & 01:35) and increase the pace of editing during the second interview (introduce B-Roll elements) to increase the number of people identifying visual editing as good or better.

If you identify specific visual elements that need addressing, such as framing, why not add a screenshot to clearly identify the scene or shot you are going to improve? You could even annotate it to identify your action plan/improvements.

ACTION : Use the transform and crop tools to reframe this shot, leaving less headroom and making the interviewee larger (more important) in the frame.

Present your detailed analysis of audience feedback, together with action plans, on the 'Target Audience Feedback' page in your Production Log. This is a VERY IMPORTANT part of your Production Log!

Documentary Rough Cuts & Feedback (HOO)

The rough cuts of your documentary have been posted on an 'Exhibition of Pupils' Work' page (see sidebar or click here. Why not seek some additional feedback from members of your target audience too (parents, other teenagers, game players, etc)?

I really am pleased with the quality of the rough cuts and, with some additional filming & editing to refine your product in response to the feedback you received, I think all products will be worthy of a level 4. Well done! Now, let's see who gets what proportion of the marks allocated to the product...

Year 11: Week 12 (Controlled Hours 19 & 20)

In today's lesson you will answer the following questions;

1. How successful is the rough cut of my documentary?
2. What improvements should I make?
3. When must I submit my completed Documentary & Production Log (including storyboard).

After todays lesson, you will have until we break up for Xmas to complete the following tasks;

1. Make improvements to your documentary based upon audience feedback.
2. Submit the final cut of your completed documentary (upload to School Vimeo account).
3. Complete a storyboard for your final documentary (each person in your group must draw and annotate an individual storyboard; you can't submit a group one! We have storyboard templates for you to use though).
4. Submit your completed Personal Production log (use the checklist and the Individual Progress Grid to make sure that all elements are fully completed).

To support you, here is a countdown to this deadline;

After Xmas, you will have just 3 lessons to complete the Evaluation before the final unit deadline.

_________________________________________________________

Collecting Audience Feedback in Today's Lesson

You have a page in your Production Log called "Audience Feedback". This is the page we are addressing today. Your first task is to identify what areas of your production you would like to receive feedback on. Is it the camerawork? The editing? The narrative structure? The soundtrack? Maybe you will want to ask more general questions such as "What went well?" or "What could we improve?". You decide what you want to ask the audience at this test screening (but don't have too many questions).

You must also decide how you are going to present your audience feedback in your Production Log. If you want to present a written summary with qualitative data, you will need comments to analyse and to use as quotations. If you want to present quantitative data, you will need some scores to turn into charts or graphs. Maybe you want to use a mixture of both methods? You will have 15 minutes to decide what questions you want to ask your audience and how you want them to answer (comments or score). Type them into a Word document so that I can turn them into an computer questionnaire (Socrative Test) that students can complete whilst we exhibit your film on the Interactive Whiteboard.

You will have a maximum of 20 minutes to exhibit your film and collect your feedback. At the end of the lesson, I will send you your feedback as an Excel document (so you can turn the data into charts if you wish) and a pdf document (so that you can easily read everyone's comments and quote them). You can take this feedback away and complete the 'Audience Feedback' page of your Production Log in your own time. (but before the deadline).

As mentioned above, after this lesson you will only have until the end of term to address the issues raised by your test audience, to draw your storyboard, to finish your Individual Production Log and to complete the final cut of your film (see deadline above).

Peer Satisfaction Survey

I am hoping to have time for you to complete the Peer Satisfaction Survey too, identifying the value of the contribution each group member has made. If not today, we will complete this very soon. I will use the results of this survey to allocate final marks for the documentary.

Peer Satisfaction Survey (Mrs Macey's Class)

Peer Satisfaction Survey

Individual Production Log Progress (HOO)

Peer Satisfaction Survey (Mr Hood's Class)

It's time to see how well everyone in your group is contributing. The differences in level of contribution will impact on the final mark allocated to each group member. So, at the start of this week's lesson you'll take the contribution survey...

Click Here

Year 11 : Weeks 10 & 11 (Controlled Hours 15,16,17 & 18)

You now have two weeks (4 hours) to edit your documentary IN LESSON TIME ONLY! You may not edit your film after school or at lunchtimes.

You must exhibit your film to a selection of your identified target audience in Week 13 to gather target audience feedback; that's the week that starts Monday 30th November (organise a test screening event in that week). I will post more information about your test screening event next week, including methods of gathering audience feedback.

To be clear about what you can and can't do out of lesson time for the next two weeks...

What You Can Only Do in Lesson Time Only...

• Open your project in Final Cut Pro X.
• Import footage from your camera.
• Edit your footage.
• Review your footage in FCP X.
• Import sound effects or soundtrack into FCP X.
• Edit sound in FCP X.
• Investigate the impact of effects on the clips in your storyline.
• Continue work on the final draft of your storyboard (the one that will be submitted).
• Continue work on your script (the one that will be submitted).

What Can be Completed At Other Times (for OHL)...

• Any of your research & planning documents (documentary research, existing product research, topic research, etc).
• Plan & consider elements to be included in your storyboard.
• Plan & consider script elements.
• Source & review sound effects & appropriate soundtrack extracts (search Free SFX, etc).
• Shoot additional footage (interviews, B-roll, etc).
• Review the quality of footage on your camera.

So remember, the final film, together with the final drafts of the storyboard & script, can only be worked on during formal lesson time!

Advice on Editing & Post-Production 'Fixes'

• Timing is everything; editing has a rhythm, like beats in a bar in music or the movements of a dancer.
• Editing to a soundtrack is important; cut when the music changes or at the start of bars (certainly, always on the beat at least).
• Don't use approximate clip lengths; be very specific about the point (frame) at which your film cuts.
• Don't have unnecessary gaps of silence at the start or end of interviews, etc (cut tight).
• Don't rely 100% on straight cuts; use some split edits to anticipate dialogue or new environments (cut to the new sound before we see the image on screen).
• Use some camera movement. If it wasn't there in the original footage, try the Ken Burns effect (key-frame zooms, reverse zooms or tracking shots).
• Remember, you can fix a number of framing issues in post-production. For example, if you didn't observe the Rule of Thirds when you shot your footage, zoom in a little (enlarge the image) and then crop, shifting the frame to the left or right. You can also eliminate excessive headroom or wasted space to the right of left that doesn't contribute to the meaning of the shot.
• Too much background noise? FCP can fix that!
• Dialogue a little unclear? FCP can fix that!
• Shots too dark or too light? FCP can fix that!
• Don't forget to 'connect' B-roll clips (don't try to cut them into your primary storyline)
• 'Connect' music & sound effects too (use the 'Q' shortcut, don't drag them in).
• Consider the balance of dialogue, soundtrack and effects carefully; we need to be able to hear what is being said clearly.
• Don't forget that you can use 'Show Animation' function on a clip in you want to fade it in or out (adjust opacity).
• Do you need to apply a visual effect to flashbacks or reconstructions to make them seem a little 'dreamy'?
• Make sure your documentary has a 3-act narrative; an introduction, some development and a conclusion.
• Don't forget your documentary title. Where will you place it? At the start? Between the introduction and development sections? You decide!

What Can Your Teacher Do?

Your teacher can't give you creative ideas such as suggesting a narrative, telling you where to cut, suggesting an effect or identifying elements of your production that require improving (your target audience feedback will achieve this anyway).

However, your teacher can tell you how to achieve the creative ideas you have. For example, you can ask "How do we use the Ken Burns option?" or "Can you show use how to crop the image?".

Your teacher is there to advise you on the application of workflows in FCP (show you how things work), not to suggest ideas that  impact on the creative quality of the outcomes. 

Out of Hours Learning

• Further develop the research elements of your Production Log.
• Source & review sound elements that could be used in your production.
• Complete the Lesson Evaluation document.

Year 11 Week 9 (Controlled Hours 13 & 14) : Post-Shoot Script, Scripting Reconstructions & Storyboard

Now that you have finished filming, you need to think about constructing your documentary. To help you to organise the clips into an effective and coherent product, you should produce a Post-Shoot Script and a Storyboard. The Storyboard is a very important piece of evidence as it is the only planning document specifically identified in the specification, so make a good one!

Post-Shoot Script

The Post-Shoot Script is a highly detailed record of your intentions. It includes;

• Scene Number & Shot Description (e.g. Scene 1, Shot 1, ECU)
• Time (the timecode : where in your film will this shot start, e.g. 0:01:13 = 1 minute & 13 secs)
• Narration (Is there a voiceover? What will the narrator say? In other words...his/her lines!)
• Visual (a description of what we will see on the screen)
• Audio (a description of what we will hear; sound effects, soundtrack, asynchronous sound, etc)

You can see an example of a Post-Shoot Script in construction in the example Production Log here. (Also available on the Production Portfolio Log Blog here.) Make sure you 'turn' to the correct tab in the Production Log!

Scripting Reconstructions

If you have reconstructions in your documentary, these must be scripted in the traditional way. There are very particular conventions that you must use when writing a script and I will go through them in more detail in class. Here is an example of a properly formatted script that follows industry conventions;

A film company will not even look at a script if it is not properly formatted using size 12 Courier font! You can find out more information about scripts here and here.

Storyboard

A storyboard is a highly detailed record of your intentions in terms of framing & editing. It shows;

• Shot Number (as a reference for the Production Team)
• Transitions (how you are going to move from one shot to another)
• Shot Description (EXT or INT, DAY or NIGHT, Shot Type, Camera Movements, etc)
• Image (a drawing of what is on screen)

The drawings on your storyboard don't have to be works of art, but they must accurately represent what is on screen (you can use stick men but they must be at the correct shot distance, angle, etc). The examiner & moderator will compare your storyboard to your finished film and they MUST be the same!

Now, yours is a little bit different to a normal storyboard in that you already have the footage and can't use the storyboard so plan framing (it's too late). However, it terms of planning a strategy for editing, it is still a very useful document.

At AS & A2 level, before they go out and shoot their film, students export each frame of their storyboard into Final Cut and make what's called an animatic (a mock up of their film, complete with soundtrack, etc). It is used to give them an idea of what their film will look like, shot lengths required, etc.

Here is an example of the storyboard template you should use (available in class);

And here is an example of a single page from a completed storyboard. Notice the level of detail;

Generic Production Portfolio Feedback

These are some of the trends I have observed whilst reviewing your progress. Individual feedback is not allowed, but generic advice to keep you 'on track' is acceptable. Here goes...

Production Details : Capital Letters for peoples’ names. Make sure your details are the same as everyone else in your group!

Workflow : This will provide evidence for ‘time management’ success criteria

Documentary Research : Not just a list. Requires an introduction. Better with real media texts identified (real examples)

Existing Product Research : You should have 2 contrasting examples. It is best not to present the questions from the blog; just use them to write a piece of extended writing.

Project Focus Summary : What are you making a documentary about? Why is this subject important?

Target Audience Research : You should research audiences for documentaries (use Pearl & Dean data, IMBD data or questionnaire data). You should also include a TAP (that is called a “Target Audience Profile”).

Topic Research : If you make factual claims, signpost the reader to the evidence. You could also list references (websites your used, authors, books, magazines, journals, TV programmes you’ve watched, etc) at the end of your page.

Location Research : Should include photos of the locations you are evaluating. Evaluations should include what’s good and bad about each location and what are the challenges you must overcome (lighting, access, permission to use, travel & distance). For interviews, justify your choice of background or location.

Interviewee Information : Who are you interviewing? Why is their opinion important? What can they contribute to the debate?

Pre-Shoot Script : Have you got an obvious 3-act narrative? (Introduction, Development & End/Conclusion)

Interview Questions : Have you prepared the questions you are going to ask your interviewees?

Shot List & Shooting Schedule : A record of what shots you need, when you plan to shoot them, etc.

Production Diary : Should summarise the work done; both the group’s and your own.

Production Calendar : Should identify completed tasks and future targets / deadlines.