The document provides guidance for students on various aspects of coursework assessment, including research, planning, organization, and drafting. It emphasizes the importance of thorough research into similar existing media products and potential target audiences to inform creative choices. Students must provide evidence of planning through shotlists, storyboards, and script drafting to showcase their preparation and organization. The highest marks require excellence in these areas as well as care in presentation and time management.

1. AS COURSEWORK ASSESSMENTAS COURSEWORK ASSESSMENT
CRITERIA:CRITERIA: A PLAIN ENGLISH GUIDEA PLAIN ENGLISH GUIDE
All three aspects are assessed as one of:
Mark out of: 60 20
 MINIMAL 0-23 0-7
 BASIC 24-35 8-11
 PROFICIENT 36-47 12-15
 EXCELLENT 48-60 16-20
RESEARCH & PLANNING
To hit ‘excellent’ (16-20 marks) requires meeting the following:
1 There is excellent research into similar products and a potential target audience.
2 There is excellent organisation of actors, locations, costumes or props.
3 There is excellent work on shotlists, layouts, drafting, scripting or
storyboarding.
4 There is an excellent level of care in the presentation of the research and
planning
5 Time management is excellent.
RESEARCH INTO SIMILAR PRODUCTS
IN A NUTSHELL: The evidence you provide which will show how informed your media language choices
were by existing films, and thus realistic; achieving verisimilitude.
EVALUATION LINKS?: This will be your longest response. 1. In what ways does your media product use,
develop or challenge forms and conventions of real media products? That’s the most direct example, but
every Evaluation question is to some extent linked to this research.
MORE DETAIL: See http://asmediafilmopening.blogspot.co.uk/2012/10/blogging-on-examples-of-film-
openings.html, http://asmediafilmopening.blogspot.co.uk/2013/10/opening-egs-pretty-in-pink-deutch-
1986.html, http://asmediafilmopening.blogspot.com/2011/02/eval-q1-use-of-conventions.html
COMPONENTS/STEPS: By blogging on a range of films, build up evidence of what you commonly see in
general film openings and then genre-specific film openings. So, before you’ve agreed on an idea, you’re
looking at what films across different genres feature within the opening, and summarising your findings. Once
you’ve agreed on an idea, you narrow this down to more genre-specific examples.
KEY TO THIS: Plentiful screenshots/embedded video/clips within vodcasts. You will need these again for the
Evaluation, and should be re-using (re-referencing) these as you go on to detail your choices and preparation
for shoots: costumes, mise-en-scene, shot selection, framing, narrative etc. Also: post that clearly summarise
micro-elements of the media language of film openings, such as…
ELEMENTS TO RESEARCH + SUMMARISE: A combination of some of the following – these overlap, so
whatever list you come up with, just be clear that it covers all key aspects of the conventions. Idents; titles

2. (use artofthetitle.com); Opening Shot; Running Time; Closing shot/transition into main body of film; Editing,
ellipsis, pace, length of takes, SFX, transitions; Framing, shot types/variety; Mise-en-scene; Dialogue, script,
sound, music; Narrative enigma, anchorage, exposition; genre signifiers, intertextuality, audience (mode of
address); Characters, representations.
So: blog on a variety of films; sum up your findings; split this up into additional posts which clearly indicate
the topic or aspect of openings you’re summarising. That probably means repetition – that’s fine; its more
important to be able to quickly, easily see and find the full range of your research. Highlight (and sum up)
elements you think are most/least useful, that you’re most/least likely to reflect.
RESEARCH INTO A POTENTIAL TARGET
AUDIENCE
IN A NUTSHELL: Professional film producers must have a clear concept of their target audience/s from the
earliest stage of pre-production; a fund-raising pitch lacking this will fail. You must think and behave as an
Indie producer, and have a clear outline of your target audience. This must be seen to have informed your
media language choices, from costume to music and everything in between
EVALUATION LINKS?: There are TWO Evaluation questions directly on audience!
4: Who would be the audience for your media product?
5: How did you attract/address your audience?
MORE DETAIL: http://asmediafilmopening.blogspot.co.uk/2012/04/blogging-on-audience.html,
http://asmediafilmopening.blogspot.co.uk/2014/11/the-rom-com-audience.html (guidance on researching),
https://www.scribd.com/doc/109514675?secret_password=1b44vbentryj8bxmmuyf (lengthy section on
audience included), http://asmediafilmopening.blogspot.com/2011/02/eval-q4-target-audience.html,
http://asmediafilmopening.blogspot.com/2011/02/eval-q5-mode-of-address.html
COMPONENTS/STEPS: Building on audience analysis within your pitch, and within posts analysing film
openings, set out a detailed breakdown of who you think would be your primary, and secondary, target
audience, clearly justifying every aspect of this: age range, gender, sexuality, social class (eg ABC1, C2DE),
wider demographics and interests. Undertake some research to see if this seems realistic after all: question
small samples to see what audience they think might view your film, if they’re familiar with some genre
examples, etc. Use BBFC ratings of comparable films as key evidence. Carefully address why a 12/15/18:
what specifically within the BBFC guidelines could/n’t you do because of the target audience age range and
BBFC rating? How is this reflected in your media language choices (cast, characters, intertextual references,
music, dialogue, etc)? Seek out and evidence audience feedback on each rough cut/sample footage – and
clearly respond to this (you don’t have to agree, just make clear your reasoning and detail and actions, eg re-
shoot, re-edit).
KEY TO THIS: Don’t confine this work to a few posts with audience in the title; keep referring to your
defined audience/s within posts on planning shoots, audience feedback, etc. Be clear on the specifics of media
language choices made as a result. Showcase some testing out of alternative edits on sample audiences.
ELEMENTS TO RESEARCH + SUMMARISE: Define an initial target audience, backing this up with
research into BBFC ratings and anything else you can find from reading books, article etc (not least Charles
Gant’s columns on box office). Provide ‘audience updated’ posts if there are any changes based on feedback
to rough cuts. Clearly evidence audience feedback, and your response to this.

3. ORGANISATION OF ACTORS, LOCATIONS,
COSTUMES OR PROPS
IN A NUTSHELL: Evidencing that the cast didn’t just wander in, wearing what they normally do/looking like
they normally to, to locations which are just as you found them. What did you do to signify your preferred
reading reading by manipulating and changing, transforming these elements?
EVALUATION LINKS?: You will rely on detailed before/after images/videos for several Evaluation Qs, but
especially for the last one, which highlights how you went from filming with limited planning and care over
small details to your final production. 7. Looking back at your preliminary task, what do you feel you have
learnt in the progression from it to the full product?
MORE DETAIL: http://asmediafilmopening.blogspot.com/2011/02/eval-q7-learnt-since-prelim.html
COMPONENTS/STEPS: Blog before shoots on your plans; get evidence during shoots to showcase what
you’ve done. Break down the elements: cast (hair, makeup, costume, direction [body language, voice,
movement, emotion etc], comparison to existing characters); locations, and the set-dressing and mise-en-scene
work (including props) for each shoot.
KEY TO THIS: Evidence any and all options considered, explaining why your final choice was superior to
other options. Be clear on the semiotics or media language of your choices and decisions; how these reflect
the particular preferred reading you are attempting to encode (and manipulating audiences into following).
Detailed pictorial or video evidence, breaking down the small details and highlighting the aspects of
before/after, is crucial. Filming set-dressing, make-up/hair preparation etc is easy but vital
ELEMENTS TO RESEARCH + SUMMARISE: Re-use details you found from your conventions research,
looking at film openings: make specific comparisons to characters, props, settings in existing films.
WORK ON SHOTLISTS, LAYOUTS,
DRAFTING, SCRIPTING OR
STORYBOARDING
IN A NUTSHELL: Upload/embed evidence of planning before shoots.
EVALUATION LINKS?: As above, this is key for Q7, but when evidencing drafting you should also be
building up posts on software/hardware tools and techniques used which you can use for Q6 too. 6. What
have you learnt about technologies from the process of constructing this product?
MORE DETAIL: Templates are available through the top links list at
http://asmediafilmopening.blogspot.co.uk/, but have also been repeatedly emailed. Paper copies are available
in K5.
COMPONENTS/STEPS: Layouts is a factor for print work only. Prior to any filming, a screenplay (‘script’)
should be uploaded, following screenplay conventions carefully. This will almost certainly change as you
film, but you don’t need to keep re-publishing new screenplays, just ‘Script Update’ with the relevant detail
(eg if you’re adding a voicover). Storyboards will visually represent how scenes in the film might look, in that
order, but a call sheet is key: this lists the shots planned for a shoot in the order they will be filmed, not the
order they will eventually appear. This is a key organisational device, and filmed evidence of a call sheet
being used on set is helpful. A producer will typically have this job, informing the director of what’s next and
what’s required for this, then s/he can issue directions for cast/crew to set these up. Call sheets should include
brief detail of the multiple takes/variants of shots/sequences you plan to shoot. The two biggest mistakes
students tend to make are: shaky footage and … not filming enough shot variety (which requires filming the
same material from multiple positions, angles, framing. Drafting means rough cuts, sample scenes,
experiments with FX/titles etc.

4. KEY TO THIS: Embedded call sheets and storyboards, and a screenplay. Uploading sequences of alternative
edits (of action, FX, titles, etc) helps highlight the range of drafting.
ELEMENTS TO RESEARCH + SUMMARISE: Some reference should be made with drafts to target
audience and existing examples (your conventions research).
LEVEL OF CARE IN THE PRESENTATION OF
THE RESEARCH AND PLANNING
IN A NUTSHELL: The blog itself is an impressive multimedia production that is user-friendly: it is easy to
find specific elements of your work.
EVALUATION LINKS?: Some links to Q7; you’ll want screenshots of blog posts.
MORE DETAIL: See http://asmediafilmopening.blogspot.co.uk/2012/04/blog-gadgetslayoutpositioning-
pics.html and past blog guide.
COMPONENTS/STEPS: Distinct links lists for specific parts of your work are key. Tagging also helps.
Making sure post dates are logical, and that the final post order is as required. General proofreading: checking
for broken links, improperly embedded videos, copied posts that overflow your own blog boundaries, or
where text size or colour is an issue. Following through on ALL my comments. Almost all posts need some
illustration, video, hyperlink, and/or font/size/colour text tweaking for clear sub-heading and emphasis. Is
every post title clear and specific? Would you benefit from splitting up some posts for clearer focus? Never
embed vodcast/vid/podcast without some explanatory text. Use image captions – and don’t be afraid to re-size
it from the default small if this is effectively the main text.
KEY TO THIS: Vodcasts, links lists, tags, proofreading, following up my comments.
ELEMENTS TO RESEARCH + SUMMARISE: Past blogs, my guide.
TIME MANAGEMENT
IN A NUTSHELL: Showing there was a production schedule, just as any business needs to have.
EVALUATION LINKS?: Q7
MORE DETAIL: http://asmediafilmopening.blogspot.com/2015/02/making-google-calendar-time-
management.html
COMPONENTS/STEPS: Start with a detailed initial production schedule. Add ‘Production Schedule Update
x’ posts as your plans change. If you haven’t carried out a planned shoot, explain why, and make sure there’s
a clear update with a revised date/time. Re-shoots are common, make sure these are added in. Creating a
Google calendar, which you can embed as a live-updated blog feature, is a great idea, and helps with three
assessment criteria! Weekly podcasts, starting with 1 [we are…, we are producing…, in the next week we
will…] and then 2 onwards following the format [since last time we have…, coming up we will…].
KEY TO THIS: Evidence your production hasn’t happened haphazardly in fits and starts.
ELEMENTS TO RESEARCH + SUMMARISE: Past blogs.