2. Authors Declaration
I, the undersigned declare that this project which I am submitting is all my own work and
has not been previously submitted to this or any other University/Institution.
_______________________________________
Print Name
Signature: ______________________________ Date: / /
3. Acknowledgments
I would like to acknowledge and give thanks to the following people for their support
throughout this project:
Mr. Michael Coughlan for his advice, support, creative thinking and for always making
himself available to discuss the project.
Killian Stone, Tara Donoghue, Claire Lucy, Shane Connolly, Bridget O’Mahony, Brian
Lillis and Georgina Lannin for their feedback on the numerous script and editing
changes.
The UL Vikings for their participation to make this campaign project happen.
My family for their support and patience with me throughout this whole process and
friends for helping spread the Vikings campaign online.
4. Project Summary
The aim of this project is to create a video campaign for the UL Vikings American
football club. There will be two videos each of approximately one minute in length. The
campaign videos will be produced for a University of Limerick based club. The chosen
organisation for the campaign is the UL Vikings, an American football team involved in
the UL Wolves Clubs & Societies. The key stages included in this project are: Research,
Process (Pre-production, Production and Post-Production), Scene Breakdown, YouTube
Analytics and Conclusion.
Once filmed and produced the videos were uploaded to a YouTube channel. Using
YouTube’s views reports allows us to compare both videos and understand the analytics
behind creating a campaign video. These visual graphs reveal findings on how many
times each video was viewed, the traffic source behind each video, devices used to view
the videos and audience retention to find the estimated percentage of each video viewed.
10. 1
Introduction
1.1 Introduction
The aim of this project is to create a video campaign for the UL Vikings American
football club. This process included script-writing, storyboarding, filming and editing
two one minute long videos with the campaign pitch for both of these videos being ‘The
Viking’s are coming’. Each video was then uploaded to a YouTube account where
YouTube Analytics, a smart, intuitive tool that gives key information about a YouTube
audience and video performance, will reveal visual graphs. This provides findings on
how many times each video was viewed, the traffic source behind each video, devices
used to view the videos and audio retention to find the estimated percentage of each
video was viewed.
1.2 Motivation
The motivation behind this project came from an interest in writing short story scripts,
filming and editing videos for viewers to enjoy. Alongside this it has been a sentiment of
mine to work in an advertising agency creating various video campaigns. When reading
through the FYP proposals booklet there was a proposal to create a viral video campaign
for a topic or organisation of choice. This was my topic of interest at first, but as I have a
love for inspirational and sporting campaign videos by companies like Guinness,
Budweiser, and Lucozade, and sport giants such as Nike, Adidas and Under Armour, I
proposed my own idea of writing and producing a campaign video for a UL American
football team. Not only did this task entail creating a campaign video for my club of
choice, but it also involved creating two interlinking videos, making sure both videos
portrayed a clear message, that is: ‘The Vikings are coming’, and I had to do this without
losing sight of the campaigns objectives and continuity. This was something which I had
never done, and I was very interested in such a task.
When deciding on which FYP to pick or propose I wanted to make sure it would be a
project I was interested in doing. Not only did I want to have an interest in it, but I also
wanted to make sure it was a project I could use to showcase the skills I learned
throughout the course of my degree and Co-op placement. While on work placement my
11. 2
role involved filming, editing, and producing five three minute long segments a week,
covering community events and happenings within Dublin City Centre, before sending
them to be broadcast on UPC.
This workload provided me with essential freelance camera operating skills where
it was necessary to adapt to various environments and conditions. In the editing room
tasks would include having to overcome a range of video and audio technical difficulties
that required attention. I wanted to produce a project that would allow me to incorporate
this form of freelance production with the scriptwriting and storyboarding skills obtained
in my video modules. The club I chose was the UL Viking’s American Football team as
it is a club I am currently passionately involved in. Basing my FYP on a club I have a
personal involvement with helps further the motivation for producing two campaign
videos to best portray what the club represents.
1.3 Objectives
The primary objective of this project is to create two campaign videos for the University
of Limerick Viking’s American Football team. The main objective of the online
campaign videos is to expand the teams following for their 2014 Shamrock Bowl (All-
Ireland) campaign. While the Vikings were once one of the most successful teams in the
country, the past few years have seen
them slowly drop down the rankings as
newer and younger teams
enter the league, in addition
to having a reduced financial
budget within the UL Wolves
Clubs and Societies. The
campaign videos are a push
on the reforming of the UL
Vikings new team, coaching
staff and committee both in
the league and the Clubs and
Societies organisation itself.
Figure 1 – The Vikings are coming
12. 3
‘The Viking’s are coming’ is the slogan used to show the push of the newly evolved
organisation, as well as to highlight our country’s own fearful past experiences of
Vikings invading and pillaging in Ireland. The aim of this slogan is to create a story that
captures a crossover between the fear and brutality of the Norsemen Viking invasions of
force and raids, to the modern UL Viking’s re-developed sports team, their clashes
between various opponents, and their aspiration to become 2014 Shamrock bowl
champions.
Research
2.1 The UL and Norsemen Viking’s - A Brief History
To fully develop the campaigns aim of combining history’s Norsemen Vikings with the
modern day University of Limerick Vikings, this section will outline a brief history about
who the UL Vikings are and the sport’s governing body they participate in. Following
this, a general history of the Norsemen Vikings and their traits will be given to
understand how they will be incorporated into the campaign story, creating a link
between the brutality and fear of pillaging to the modern age league domination.
2.1.1 The UL Viking’s
The UL Vikings are an American football team from the University of Limerick in
Ireland. Formed in 1991 as a Flag Football
team, they entered their first full
contact kitted Irish American Football
League (IAFL) in 2001. Since then
the Vikings have won three IAFL
Shamrock Bowl titles in 2007, 2008
and 2009 and have made eight
Shamrock Bowl final (All-Ireland)
appearances between 2001 and 2012.
In 2010 the Vikings were officially
Figure 2 – Vikings Football
13. 4
ranked 18th in the European Federation of American Football (EFAF) the governing
body of American Football in Europe. [1]
The IAFL is the governing body of full contact adult American Football in Ireland, which
uses official National Collegiate Athletic Association (NCAA) rules, and consists of two
divisions between the Republic and North of Ireland. The UL Vikings compete with nine
other teams in the top division Shamrock Bowl Conference (SBC), which includes the
Belfast Trojans, Craigavon Cowboys, Carrickfergus Knights, Dublin Dragons, Dublin
Rebels, North Kildare Reapers, Trinity College Dublin, West Dublin Rhinos and
Waterford Wolves. [2]
The European Federation of American Football is recognized as the continental
federation for Europe which includes thirty national federations and over 100,000
members. Their aims and goals include promoting and developing the game of American
Football by organizing European competitions, tournaments and games. [3]
2.1.2 The Norsemen Viking’s
Due to the scarcity of land available to young nobles and warriors in the 700’s in
Scandinavia, groups of Noblemen had to look elsewhere for land and money. With
nothing to lose these groups of warriors were forced to head down coast using longboats
in order to pillage new settlements where they could trade for money to make a living.
Sailing the North Sea these newly termed ‘Viking’s’ began their raids in Britain before
moving onto France, and eventually onto Ireland in 795. Small in numbers at first they
were not as successful as hoped, engaging in hit-and-run raids terrorising local
inhabitants before being quickly driven back to Scandinavia. The Vikings soon began
increasing the size of their forces and planning their attacks better by setting up camps
and raiding further inland, attacking rich monasteries, churches and Irish Lords. [4]
The Vikings were seen as being brutally malicious warriors who had no respect for local
inhabitants. Although they were malicious in their pillaging, some eventually went on to
seek peaceful means for trade. [5]
14. 5
2.2 YouTube and Analysis
Set up in 2005, YouTube is an online video-sharing website which allows users to
upload, share and view a wide range of videos. It is the third most visited site on the
internet to date. [6] Registered users can create a channel where they are able to upload
videos of up to fifteen minutes in length. Users who upload regularly to YouTube are
offered an extension of video length uploads, meaning they can post videos up to twelve
hours in length to their page. [7] Along with being able to view and comment on videos,
users can link and share these clips over various other websites and social networks via a
HTML link.
The site now provides a YouTube partnership program which allows larger
organisations such as the BBC, Vevo and CBS to showcase their own content to
YouTube’s monthly audience of over 70 million users and avail of advertising revenue
generated by viewer traffic. [8] Based on ‘AdSense’ the addition of offering paid
channels is an effort to allow “content creators to earn revenue for their creativity”, in a
bid to contend with rivals such as Netflix and Hulu [9] where all three websites
simultaneously represented roughly 40% of consumer internet traffic in 2010. [10]
YouTube Analytics will be used in the post production stages of the viral campaign
videos. Detailed statistics of each video will be produced using maps, charts and tables
to identify the demographics of both videos and visually show their performances with up
to date metrics and reports.
The Analytics Section can be filtered using three categories:
1) Content Filter
Content Filter allows the user to pick a specific video or channel for analysis
2) Geography
Geography shows the user reports on each video from various sections of the
globe which can be searched by Region, Country or World.
3) Date-Range.
Range gives information between specific time ranges which can be filtered by
week, month, quarter, year and lifetime.
15. 6
The Views Reports section allows the analyst to have a more in-depth understanding of
their videos performance and it has six additional reports:
1) Demographics Report
This identifies the age, gender and geographical location of viewers. However
this is dependent on viewers who are logged into their accounts at the time.
2) Traffic Sources
The traffic sources section shows the analysis how many times the video has been
viewed through their own YouTube channel, and if embedded on other sites,
where and how many times it has been viewed through them.
3) Audience Retention
This section shows the average amount of time each video is viewed for.
4) Engagement Reporting
Here we see how many users subscribed, favourited, commented on, shared,
liked, and disliked each video.
5) Subscriber Report
This report gives information on which video has enticed a subscriber.
6) Sharing Report
This identifies where a video is being shared through, and how many times it has
been shared.
2.3 Campaign Videos
In order to understand the best way of creating a campaign video, the majority of research
took place using YouTube. YouTube allowed for access to an encyclopaedia of videos
by a range of different companies. The campaign videos that provided some of the
inspiration for this project came from such companies as Guinness, and Budweiser and
sports giants such as Nike, Under Armour and Adidas. Although the majority of these
videos were created with the help of numerous professionals, high tech film equipment,
special effects, CGI, and a much larger budget than any student could hope to achieve,
they still provided the essential inspiration in creating the campaign videos for this
project.
16. 7
With campaign videos ranging from between thirty seconds to nearly three minutes in
length, the majority of the researched videos averaged around the one minute mark,
which was the objective for each of the campaign videos for this project. Throughout the
research process, two campaign stories researched were ‘The Secret Tournament’ by
Nike, and ‘The Next Big Thing is Already Here’ by Samsung. The process behind
creating these stories and producing the videos were the sole inspiration behind this
project.
Nike - The Secret Tournament
Launched in March 2002 Nike developed ‘The Secret Tournament’ campaign in a three
month build up to the 2002 South Korea World Cup. Predominantly American sports
based, this campaign was Nike’s attempt to rival soccer brand giants Adidas (a German
company) for global sporting recognition. According to Nike’s vice president for U.S.
brand marketing Trevor Edwards, “In Europe and Latin America and Asia, if you’re not
about football, you don’t count”. [11]
They kicked off their campaign with images of a scorpion applied on various
forms of medium, the first TV commercials emerged with little more than a scorpion and
a pair of football boots. These images increased public interest as to who and what the
brand was about. It was later revealed the scorpion was a representation of Nike’s “quick
and deadly style of play” in contrast to the defensive German (Adidas) style of football.
[12]
The campaign saw 24 elite players (whom Nike believed best represented their
brand, with an apparent absence of German players) split into eight teams of three players
each. The players enter an old tanker which contains a hidden football ground. The idea
of the game being that first goal wins (hence the venomous scorpion’s, each touch
counts).
Directed by Monty Python troupe member Terry Gilliam, the idea behind the three
minute video was not to script each scene, but to have a story in mind and - along with
some minimal special effects for emphasis - allow players the freedom to showcase their
talent through playing freestyle football which was then filmed and later mixed with
some special effects to create a story. [13]
17. 8
Samsung - The Next Big Thing is Already Here
Samsung’s ‘The Next big Thing is Already Here’ is a campaign highlighting the
differences between The Galaxy SIII and the highly anticipated Apple iPhone 5. Unlike
most competitive brand campaigns, Samsung use humour to cleverly poke fun at
consumers of the opposition who wait hours in line for what they believe is ‘the next big
thing’. Without any mention or visual representation of it being an Apple product
consumers are waiting for, it is obvious who Samsung are comparing themselves against.
Directed by Michael Downing we see long lines of ‘Apple heads’ excited about how “the
headphone jack is going to be on the bottom”, and how you have to have an adapter to
use the dock on the new one, but that’s ok because “they make the coolest adaptors”. In
the ad the apple devotees talk about simplistic changes to the new product that they are
waiting for, whereas Samsung highlight the ‘real differences’ such as a larger screen and
file sharing that actually improves usability. Within the first 30 seconds we hear
“Welcome back, I guess that Galaxy SIII didn’t work out?”, with the Samsung user
replying that he’s only saving a spot for someone, which they find ‘uncool’ before later
finding out he’s saving it for his parents. As the ad comes to an end we see the
consumers in line beginning to look regretful for not getting the SIII. [14]
2.4 Software Research
When it came to deciding what software to use for editing the two campaign videos it
was immediately narrowed down to three possible options. The editing software
contemplated was Adobe Premier Pro, Adobe Final Cut Pro and Adobe After Effects. To
obtain the best results through editing and to find software that provided the most
effective tools to work with, researching each editing package beforehand was an
important aspect of finding the right program to edit both campaign videos.
2.4.1 Adobe Final Cut Pro
Already having had prior experience and knowledge with using Final Cut Pro (FCP)
meant that it was probably going to be the editing program of choice. The simplicity of
locating editing tools and navigating around the layout makes it a very popular form of
editing software among students and post-production companies. This program is readily
18. 9
available on all student Apple Macs in the 4th
year assigned Mac room. The unfortunate
thing with editing these campaign videos however is that FCP can only be edited on
Apple products. This meant editing could only be done between college hours and not on
a Windows computer or laptop. Another downfall with using FCP was that to give the
footage a more professional look, files must be exported scene by scene into Adobe After
Effects to access a wider range of editing tools. The constant exporting of files from
Final Cut Pro to After Effects, and back into FCP for piecing the timeline (story) together
meant there would be a drop in quality due to bringing files back and forth between the
two programs. For this project to obtain the best results it was necessary to film in a full
1080p HD format, only to import these files into FCP you must firstly format the
recorded HD files. This means that although HD files can be imported and edited into
FCP, the program is unable to export the final footage in true HD which again results in
the loss of quality.
2.4.2 Adobe After Effects
After Effects (AE) is a great tool for editors who want a wider range of options to create
special effects or animations, for short segments usually only a few seconds in length.
Although AE is a powerful tool in creating special effects, it is slow to use as the system
entails using a variety of complex editing tools and effects which in turn require the user
to render clips quite regularly which cannot be done in the background. Once a video
clip has been edited in AE, playback becomes jumpy and distorted due to the software
having to perform more calculations than the computer or mac’s capability. To resolve
this and allow the edited clip playback smoothly in real time the clip must be regularly
rendered. In turn the editor is left waiting around for large periods of time doing nothing.
It is also not a program one could use to edit a full story with, as it is only used for editing
small segments required to go back to the primary editing programs timeline. This would
result in a lot of importing and exporting files which will again reduce the quality of each
file. Along with the risk of reduced quality using this as a secondary program, it is very
time consuming, and has a much higher waiting time to production time ratio.
19. 10
2.4.3 Adobe Premiere Pro
Having never used Premiere Pro (PP) this was originally overlooked in favour of Final
Cut Pro. It wasn’t until the research process of editing software took place that
recommendations were received about using this program. PP is cross-platform editing
software which allows the user to install the program on either a computer or Mac. An
added benefit of using Premiere Pro is that After Effects is actually an expansion of
Premiere rather than FCP, meaning files are easily transferred between the two programs
without the risk of reducing the quality of footage. With AE being part of PP less time is
spent having to export footage from Premiere Pro to import it in After Effects for editing
and vice versa but has a faster simpler export to function. Unlike FCP where clips must
be formatted before importing them for editing, PP allows for almost any file type from
footage captured on a phone, to raw 5k and HD files to be imported, this means files do
not need to be transcoded before editing takes place. Premiere’s interface allows the user
to easily customise their editing screens layout. Screen sizes and timelines can be easily
customised and resized to suit the editors own preference and easy to remember editing
shortcuts on the keyboard offer a faster smoother editing process and navigation than
Final Cut Pro [15].
At the end of the research process a trial version of Premiere Pro 6 was downloaded for a
mock editing process on my own laptop. This was done to test the differences between
having already worked with both Final Cut Pro and After Effects on previous projects,
and using this new software. It didn’t take long during the trial run stage to discover PP
was going to be the editing software of choice. Packed with a range of new features and
editing tools that excelled over FCP and AE, Premiere Pro 6 offered a more fluid editing
experience. With filming taking place on a hand held DSLR, Premiere’s Warp Stabilizer
feature meant access to smoother and more creative footage eliminating jerking camera
movements. The vast variety of Colour Correction features meant lighting was less of a
burden in the filming stages, as Premiere Pro was capable along with some editing skills
of managing these often overlooked problems. Once the trial version of Premiere Pro 6
had expired, the full software program was downloaded and used to edit both campaign
videos.
20. 11
Process
3.1 Pre-Production
3.1.1 Script writing
3.1.1.1 Script 1: The Vikings are coming (Part 1)
In order to create the opening story, the first of the two videos, Part 1, must capture the
essence of the reorganising of the UL Vikings and the Norsemen Vikings, ‘a band of
young Viking men’ invading and pillaging 900’s Ireland ‘in search of great eminence and
supremacy’. The first story refers back to the Viking invasions of Ireland and the fear
they engendered in local inhabitants ‘to become the most prestigious of them all’. The
objective of the first video is to confuse the audience as to whether or not the narrator is
talking about Norsemen Vikings or some other form of Vikings. This is done by talking
about the Viking landings, followed with a fantasy twist where he exclaims how ‘they
ascended over Dragons, Knights, Admirals, Rebels and Cowboys’ (Teams in the IAFL).
In contrast to Nike’s 2002 World Cup campaign to be the largest global sports brand in
football (over Adidas), we learn the Vikings past objective was ‘to become the most
prestigious of them all’. They are based on a newly resurrected Viking team ready to
reclaim their title as Shamrock Bowl champions having left ‘everything on a ravaged
Dubh Linn battleground’ and eventually defeated.
With the first half of the video boasting of their past glory days, the second half
tells the audience of their preparation for new challenges that lay ahead of them, ‘with
more opponents than ever before, they prepare for battle with Rhinos, Reapers, Trojans,
Trinity and Wolves’.
The video ends with the phrase ‘They may have withdrawn, but the Vikings are
coming’, resembling Samsung’s ‘The Next Big Thing’ emulating the opposition.
3.1.1.2 Script 2: The Vikings are coming (Part 2)
The first campaign video, ‘The Vikings are coming (Part 1) educates the viewers on the
UL Vikings back story and its relation to the Norsemen Vikings and Irish history. The
objective of the second video is a follow up motivational campaign video of these players
preparing for the season that awaits them. Within the majority of the researched sports
21. 12
campaign videos, these companies employ mass emphasis on the glamour and glory of
sports and how they are portrayed today. Athletes known around the world are seen
wearing branded clothing and using top of the range training facilities. These elite
athletes are displayed in short movie style videos performing acrobatic stunts portraying
their skills in games and the rigorous training they go though in order to be the best in
their sport.
Part 2 of ‘The Vikings are coming’ opens with the narrator declaring how just like
‘in battle’, in a game of American football ‘victory is measured in territory gained, and
how well one unit outmanoeuvres the other’. In football and warfare, before a side
makes any form of attack or defence, they must study their opponents and predict what
their every move will be. ‘They strategise in war-rooms’ where coaches and players
study game footage before composing playbooks of their own to outsmart the opposing
team both offensively and defensively. It’s within these war-rooms ‘where the choices
we make, reveal the true nature of our side’. To effectively overcome a team or army, it
can take ‘weeks, months, years of dedication and planning’ to be both physically
prepared in the gym and on the field, and mentally prepared with an understanding of a
playbooks design. Each player must be aware of their positional assignment and their
teammate’s assignment, timing is everything and it takes constant practice in order for
each play to work smoothly and effectively.
The following line represents how the Vikings had been defeated by a team
doubled in size to that of the past Vikings, the narrator declares that ‘It’s not the sum of a
battalion, but their approach to warfare that decides who wins and who loses’. In
medieval times battles were fought in close combat, and much like the start of a game in
American football, ‘men don armour, and line up against their opponent’ in anticipation
for what lays ahead.
‘Steel to steel, helmet to helmet we face them’. Linemen get into position against
each other on the line of scrimmage. The distance between the offensive and defensive
players lined up against each other huddled over the ball in a game is described as being
left ‘with two inches apart’. While they wait for the countdown to the snap of the ball
and battle to commence ‘you stare them in the eye’, ‘you let them know the Vikings are
coming, and the Valkyries are on your side’. This line refers back to the Vikings belief
22. 13
that it’s the Valkyries who decide who lives and dies. In this scenario, the Vikings hope
the Valkyries are on their side this year in obtaining a win over their opponents and
become the 2014 Shamrock Bowl champions.
3.1.2 Storyboarding
3.1.2.1 Storyboard 1: The Vikings are coming (Part 1)
In order to capture the true nature of the Norsemen Vikings it was necessary to film the
first video in a dark forestry scenario.
Scene 1
The opening starts off with a slow pan descending into a dark and dusky forest.
Scene 2
The next scene is a right directional pan along some shrubs where the lone hand of a
member from ‘a band of young Viking men’ is discovered clutching onto a bone shaped
horn.
Scene 3
Scene 2 cross dissolves into scene 3, where an upward pan follows the horn gripped hand
to reveal an individual resting against a tree wearing a helmet and armour. The skywards
pan reflects on how the Vikings once ‘ascended over Dragons, Knights, Admirals, Rebels
and Cowboys’.
Scene 4
In the fourth scene we see the Viking awaken from his resting place and begin to stand
and stretch out after his long awaited rest. The Viking towers above the camera as it
moves upwards from ground to sky level to emphasis the size of the Viking. The long
stiff stretch is a representation of the player’s objective for Vikings ‘to become the most
prestigious of them all’.
Scene 5
23. 14
As the Viking exits to the right of scene 4, he enters from the left of scene 5 walking
through shrubs and foliage symbolising how they left ‘everything on a ravaged Dubh
Linn battleground’ and were defeated. A low level right pan shows only the lower body
of the player as he slowly drags his feet through the shrubs. As only ‘few survived to
return home and recuperate’ he follows the path to the river Shannon alone.
Scene 6
‘With more opponents than ever before’ he enters scene 6 where we watch him from
behind stare past the overgrown trees onto the river as he contemplates about ‘battle with
Rhinos, Reapers, Trojans, Trinity and Wolves’. Here the player sounds the horn across
the river where Vikings once sailed. The sounding of the horn is a beckoning for new
and old Vikings to recuperate as ‘they may have withdrawn’, before the player turns to
face towards the camera with the narrator declaring, ‘but the Vikings are coming’. As the
Vikings walks towards the camera the scene fades out.
Scene 7
As scene 6 closes, scene 7 opens with ‘The UL Vikings’ displayed in the teams blue and
yellow colours. The audio of grunts and moans and the clashing of football players
wearing armour play over the end titles as a crossover from the first to the second video.
The Vikings campaign hashtag #Vikingsforthebowl and their Facebook page link
Facebook.com/UniversityofLimerickVikings are then displayed in a simple clear grey
font for viewers to easily read and follow.
3.1.2.2 Storyboard 2: The Vikings are coming (Part 2)
The storyboarding of the second video is composed of three sections, a beginning, middle
and end. The opening shots reveal the aftermath of a pitch, with shots of an empty
classroom and gym. The middle section displays scenes building up to the start of a
match where players do their pre-game and training warm-ups, before donning armour in
the dressing room. The video comes to a close with the gridiron coming together at the
line of scrimmage in preparation for battle before eventually engaging to form the closing
scenes.
24. 15
Scene 1 & 2
The opening scenes of the second video display shots of the aftermath of a game, a dried
up battle ravaged pitch and an over turned goal post. These scenes are edited in the same
contrast of the dusky first video to add the crossover of the two videos.
Scene 3 & 4
The audio then builds up as scene 3 opens with full colour and a slow push pan towards
empty seats dimly lit where players sit and ‘strategize in war-rooms’. The pull pan in
scene 4 reveals a UL based classroom used by coaches and players who go through
playbooks and game footage ‘where the choices we make, reveal the true nature of our
side’.
Scene 5, 6 & 7
‘Weeks, months, years of dedication and planning’ is illustrated by scenes of a calm
empty University Arena elite gym where players spend endless hours physically
preparing themselves for the season that lies ahead.
Scene 8
The middle section of the video begins with a low level camera pan to the right where we
see several players perform their warm-ups, with only a small number of players in shot
we are told ‘It’s not the sum of a battalion’.
Scene 9, 10 & 11
These three scenes reveal a changing room filled with gear bags, helmets and pads. A
helmet with the Vikings logo facing up tells shows us ‘their approach to warfare that
decides who wins’, followed by scene 10 of a gear bag and scene 11 where we see an
injured players wrist being strapped up, symbolising ‘who loses’.
Scene 12, 13, 14, 15 & 16
25. 16
Three close up shots of players securing their pads is used to display men donning
armour before moving onto scene 15 where the Viking’s defensive unit break their
huddle to ‘line up against their opponents’ and in scene 16 an upward angled camera shot
displays the quarterback calling the play to his towering offence.
Scene 17
The camera switches back to the defensive side fixed on the offensive players meeting
the defence at the line of scrimmage before angling downwards towards the ball in
conjunction with the players crouching into formation where ‘steel to steel, helmet to
helmet, we face them’.
Scene 18
In this scene the viewer is now located behind the quarterback and his offence who ‘with
two inches apart, you stare them in the eye’ as they wait for the countdown to the snap of
the ball. The video ends when the ball is snapped and offensive and defensive linemen
clash together as the quarterback takes the ball to bail backwards and hand it off to the
running back. As the running back runs through the line of scrimmage he is met by
defensive players coming in for the tackle. The scene ends with a defensive player
hitting the ball carrier and being pushed backwards leaving the audience wondering if the
ball carrier was tackled, or if he managed to push through, this scene adds to the mystery
of whether or not the Valkyries be on the Vikings side this season.
Scene 19
The final scene fades out with ‘The UL Vikings’ displayed in the teams blue and yellow
colours The Vikings campaign hashtag #Vikingsforthebowl and their Facebook page link
Facebook.com/UniversityofLimerickVikings are then displayed in a simple clear grey
font for viewers to easily read and follow.
26. 17
3.2 Production
3.2.1 Filming
3.2.1.1 Film 1: The Vikings are coming (Part 1)
In order to achieve the dark grittiness of the Vikings past in Ireland it was vital to film in
a dark and dusky scenario. The chosen location for the first video was Kilmurry forest on
the University of Limerick grounds. The forest was the best location as it is surrounded
by forestry which adds an element of mystery as to where exactly the Viking has
resurrected. Running through the forest is the river Shannon which is how the Vikings
advanced further in land to raid Ireland.
‘The coming of the Vikings’ was filmed in chronological order as this was the
easiest way to shoot the video. Most directors oppose the idea of filming in
chronological script order as scenes may take place in various locations which makes it
more time consuming and requires a larger budget. For this video however there was no
cutaway shots required therefore allowing for a fluid shoot following the Viking directly
from his resting place to the edge of the Shannon.
In order to film part 1 a Day to Night technique was used. To achieve this
technique it was essential to film in an overcast condition with just enough sun light to
avoid any surrounding shadows. Filming for this video only took a day although a test
shoot was set up prior to the final shoot. The test filming was used for location scouting
(where the Viking will be set up, what pathway was most ideal to use without capturing
the surrounding vehicles and buildings and where the best entrance to the river was due
to the river Shannon having been flooded at the time). It was also necessary to use a test
shoot to figure out what camera settings were best suited for the location to achieve a
dark scenario.
A Canon 550d DSLR was booked from the college’s CSIS department and used
in conjunction with an EZ slider and tripod. The EZ slider is a long bar which can mount
onto a tripod and allows the camera to slide left, right, backwards and forwards on the
bar, giving a zoom effect without the footage becoming blurry and unfocussed, which
happens when using the zoom function. Using the EZ bar avoids imitating human
behaviour and creates smooth movements for a neutral observer effect.
27. 18
In order to film in the forest is was necessary to set the camera settings for reduced noise
in low lighting conditions. Noise (grainy footage) was reduced by setting the ISO (the
camera’s sensitivity to light) to between 400 and 600 to keep the forest scenes dark, but
still allow some lighting into the lens. The shutter speed (the amount of time the camera’s
shutter is open) was set at 1/30 frames per second (the recommended shutter speed for
panning motions) and aperture (limits the amount of light that reaches the image) kept at
F/5 for the sharpest image and depth of field. To create a film style shoot, the picture
style contrast was pulled down which allows for better colouring in post editing, and the
picture quality was flattened on the camera. Flattening the image quality reduces the
crisp lines often seen in films and allows the audience to perceive the player and his
surroundings as if they were standing in the forest. The white balance function was set to
blue tungsten. This filter takes any bright colours out of the shot leaving a bluish colour
to make the scene look like it was filmed under moonlight and allows for easier colour
correcting in the post production stages.
3.2.1.2 Film 2: The Vikings are coming (Part 2)
The second video was shot in four locations around UL. Unlike the previous video, this
shoot was not filmed in chronological order due to the various scenes and locations
required. The opening scenes were filmed on McGuire’s field behind the Kilmurry
student village on the University of Limerick grounds. Following this a lecture room was
used in order to film the war-room scenes. The gym session took place in the University
Arena’s elite gym where the UL Vikings hold their weight training sessions. As for the
training scenes, these took place during the day again on the Vikings training grounds,
McGuire’s field.
All scenes in this video, except for the classroom scenes, were filmed by
manually holding the camera without a tripod. Filming in a handheld style instead of
using a tripod or EZ slider gives the viewer a personal point of view. It imitates a
characters point of view and allows the audience the experience of viewing each scene
through someone else’s eyes. The slight movements in the camera add to the build-up of
emotional and psychological tension the video aims to achieve.
28. 19
To film each scene in a mini movie style the picture style contrast was brought
down to a minimum for colour correcting in post editing. The picture quality was also
flattened to reduce the crisp lines for a more realistic perception.
Opening Field Shot
Similarly to the part one video, the opening two scenes of the second video were filmed
in overcast weather conditions using the Day to Night technique. The reason behind this
was to maintain the continuity between the end of part one and the start of part two.
Filming the aftermath of the pitch in this style emphasises the grim nature of the defeated
Vikings past before opening into full colour for the newly resurrected team.
Camera settings: ISO – 400, Shutter Speed – 1/30 fps, Aperture – F/5
Classroom
Filming the classroom scenes took place in a lecture room located in the Kemmy
Business School, UL. These were the only two scenes where a tripod was necessary.
With only two of the three tripod legs extended I was able to push the camera forward
giving a swooping-in effect on a single turned chair facing the camera. This swooping of
the camera imitates the effect of the viewer heading towards the chair ready to sit down.
In the second scene of the classroom, the tripod maintains its same structure only this
time the camera is pulled back from another point of the room. As the camera pulls
backwards it ascends over a row of chairs before declining into the back row seat, giving
the audience the impression of sitting at the back of the class with a full view of the
room.
Camera settings: ISO – 200, Shutter Speed – 1/30 fps, Aperture – F/5
Elite Gym
Three static shots were chosen to represent the Vikings time in the gym. Filming took
place in an empty weights room to add to the videos build-up of introducing the team.
The deserted gym symbolised the end of the team’s pre-season training. These scenes
include an upright angle from ground level of a towering weights bench and two
dumbbells on the ground. The second scene shows a row of neatly organised power bags
29. 20
perfectly lined up on the ground. The final gym scene sums up the aftermath of the
team’s weight sessions by revealing an ‘Ensure all weight are returned to the correct
place’ sign on the exit door before focussing on a single swinging cable rope.
Camera settings: ISO – 200, Shutter Speed – 1/30 fps, Aperture – F/5
Changing Room
For filming the changing room scenes the camera was aimed downwards with low level
shots to avoid obvious facial shots of players. The idea behind avoiding full facial shots
is to prevent viewers from recognising player’s faces as this may put a face onto the
campaign. The Vikings are a team and there are no single representatives of the club as
players come and go. Three close-up shots were filmed of players fitting and securing
their football pads with cut a ways of a Vikings helmet laid on the floor, a full opened
gear bag revealing the contents carried by each player, and a close up shot of a player
having his injured wrist strapped up.
Camera settings: ISO – 400, Shutter Speed – 1/30 fps, Aperture – F/5
McGuire’s Field
Filming outside proved the most difficult due to weather conditions. With the sun
beaming, clear skies and players wearing white jerseys, the reflection of white light
saturated the camera lens and footage became white washed. To reduce the white
washing of footage the ISO was reduced to a minimum while the white balance was
corrected using a plain sheet of white paper. Each shot was filmed as handheld with the
exception of the right side panning as the players performed their jumping jacks warm-
ups. For this scene a tripod was used at its lowest level and the EZ slider attached. This
allowed the camera to smoothly motion to the right and lower towards the ground by
tilting the tripod camera mount.
Camera settings: ISO – 100, Shutter Speed – 1/30 fps, Aperture – F/5
3.2.2 Audio Recording
A Rode NTG2 condenser shotgun microphone was used with the Roland R-26 handheld
recorder in order to capture the background audio for both videos. The NTG2
30. 21
microphone was chosen due to its full frequency response, low noise and audio
transparency which are effective in picking up ambient sounds. These recorded sounds
were used to play over the end titles of the first video where players can be heard
engaging in contact. In the second video audio recording was used to record the claps
when each unit exits their huddle, when the quarter back counted his cadence down to the
snap of the ball and for recording the shouts and hits for the end of the video.
In order to record the narration for both the first and second video, the recording
studio in the Computer Science & Information Systems building was used. Here the
narrator read through the script using a condenser microphone where the audio was
recorded and mixed on Pro Tools 9. Using the recording studio meant no ambient sounds
would be picked up by the microphone as the live room is insulated for a dead sound.
The narrator was positioned in front of a glass window separating the live recording room
and the mixing room. This meant I could keep an eye on the voice actor and signal him
when recording had commenced and ended. With the narrator wearing headphones I
could activate a talk back button in the control room if necessary when requiring him to
repeat lines. After several auditions, the narrator used was a radio presenter from ULFM.
Using a radio presenter meant he was comfortable behind the microphone, and had an
assertive and persuasive voice with a slight Limerick accent to keep the teams Limerick
roots evident. Also recorded in the studio was the sounding of a horn, this audio was
then captured and imported for the 6th
scene in The Vikings are coming (Part 1).
3.3 Post-Production
3.3.1 Video and Audio Editing
Video editing took place using Adobe Premier Pro. For the Vikings are coming Part 1
there were twelve video files captured, a royalty free soundtrack purchased, four different
narrations recorded and four external audio files used in the editing process. For the
second video there were 222 video files captured, seven ambient audio sounds recorded,
two narrations and a royalty free soundtrack to go through for the final edit.
In Adobe Premiere Pro two different project files were created titled ‘The Vikings
are coming (Part 1)’ and ‘The Vikings are coming (Part 2)’. From here all files were
imported in chronological order according to the storyboards. For example, when
31. 22
choosing the two opening field shots in the second video, twenty captured video files in
the folder ‘Field Cutaways’ were imported into Premiere and titled from numbers 1 to 20.
Once the two best scenes were chosen, they were renamed in the timeline as ‘Field
Cutaway 1’ and ‘Field Cutaway 2’ before deleting the unwanted files to keep a more
manageable timeline. Once all chosen files had been imported, titled and fit into
position, and before any cuts, trims, transitions and editing of scenes took place, the
chosen narrations were trimmed down and spread across the timeline under each clip as a
reference point, and the soundtrack was layered over to adjust the timing of scenes. The
second half of the track was used for the video part 1 and the first half of the track where
the music builds up was used in the part 2 video. For both videos a letterbox template
was added onto the timelines to give both videos a movie look and the Vikings logo was
positioned in the bottom right hand corner with 15% opacity for the footage to remain
visible over the logo. The letterbox template consist of two solid black horizontal lines
which run along the top and bottom of each scene making the videos appear as
widescreen.
Figure 3 – UL Vikings Logo
The chosen soundtrack was an online purchased royalty free soundtrack titled ‘Final
Preparation’ from www.audiomicrophonero.com. [16] The soundtrack is noted on their
website as having a ‘patriotic feel of building defence and gathering the good against the
evil at the battlefield. The track radiates hope and bravery. Appropriate for trailers’ [17]
which describes the objective of both videos. The reason for using a royalty free track
meant there were no copyright issues involved and the videos could be played on
YouTube without the need to pay royalties to any recognised artists.
32. 23
The Vikings are coming (Part 1)
The main editing that took place here was to acquire the Day to Night shoot. Having
already reduced the lighting settings and used a blue-tungsten white balance on the
camera, colour correcting took place to darken scenes where lighting from the sky was
too bright. The main features used for this process were the Hue Saturation, RGB Curves
(Red Green Blue colour grading) and Brightness and Contrast. The first feature used was
the Hue Saturation which allowed me to reduce the clips down to a faint black and white
colour. The RGB Curves feature then allows the editor to increase and decrease the
white, red, green and blue colours used in the scene. In this edit the green curves were
slightly increased to emphasis the surrounding forestry and the blue curves were reduced
in a wave form to avoid shadows and give the effect of the story taking place at dusk.
Figure 4 – RGB Curves
Brightness and contrast levels allow the editor to increase or decrease the brightness and
contrast. These were adjusted to balance the RGB Curves by increasing the brightness
settings to 10% for viewing and keeping the contrast at a balanced 0%. Below is the
before and after using the Day to Night editing technique.
33. 24
Figure 5 - Before and After
The studio recorded horn audio used at the end was originally recorded too short as the
player blows the horn briefly, then holds the horn to his mouth a bit longer before
eventually lowering his arm. To resolve this problem the recorded horn sound was cut
just before it ends and duplicated. The original file and the duplicated file were then
positioned beside each other and blended together using an audio cross dissolve. Using
this feature allowed the ending of the original file and start of the duplicated file to cross
into one sound to match the timing it took the player to blow into the horn, and eventually
lower it.
The Vikings are coming (Part 2)
When filming the second video, a lot of the recorded footage had become saturated due to
the brightness levels on the day and had white washed a lot of scenes. To correct this
there were four main features used Colour, Contrast, Levels and Brightness and Contrast.
Figure 6 – Before and After
Colour, contrast and levels give the ability to reduce the amount of light that white
washed the footage seen in the before picture. This was done by decreasing the white
34. 25
clip levels and increasing the black clip levels of each feature. The brightness for each
outside scene was reduced to an average of -100% and the contrast settings were
increased to around 60% depending on how saturated each scene was.
For scenes 15, 16, 17 and 18 each shot was filmed at different stages throughout
the day. These scenes had to be manipulated and incorporated into having the audience
believe they were all shot chronologically. To achieve this, scenes 17 and 18 were
horizontally inverted using a transform tool. Using this feature meant the image was
flipped over and players were positioned on the opposite side to when originally filmed in
order to have players in the same position and keep continuity fluid.
Figure 7 – Transform Effect Before and After
The ambient audio sounds were recorded using the microphone connected to the camera
for these scenes which meant the audio was automatically synched up to the video
footage and no manual synchronising was necessary.
42. 33
The Vikings are coming (Part 2)
Figure 15 – (Part 2) Audience Retention
43. 34
Conclusion
Overall I consider the UL Vikings campaign to have been a success. The scripts wrote
effectively captured the crossover of the Norsemen Vikings and the modern day UL
players. Both videos received an above 60% audience retention rate which is the
recommended rule of measure for how long the viewer’s attention was kept. The Vikings
are coming Part 2 received an average viewing time of 80%, 8% more than The Vikings
are coming Part 1. In my conclusion I have come to realise that no matter how organised
and far ahead one can plan during the production process, there will always be simple
factors such as weather conditions, booking equipment and editing software malfunctions
that will play a considerable role in preventing you from making the videos happen.
Having experienced all of these obstacles, some more than others, it is an
accomplishment to see the end result of the production process shared and enjoyed
online.
This campaign project has provided me with the opportunity to gain experience in
all stages of the production process. I have learned and gained new experiences
throughout the campaign by learning and developing my researching, script writing,
video and audio recording and editing using new programs, techniques and equipment.
44. 35
Appendices
6.1 References
[1] Wikipedia. University of Limerick Vikings. Available:
http://en.wikipedia.org/wiki/University_of_Limerick_Vikings. Last accessed 23rd Dec 2013.
[2] Irish American Football Association. American Football in Ireland. Available:
http://www.americanfootball.ie/about/. Last accessed 23rd Dec 2013.
[3] European Federation of American Football. About EFAF. Available:
http://www.efaf.info/text.php?Inhalt=aboutus. Last accessed 23rd Dec 2013.
[4] Abbot, P. The Coming of the Vikings. Available:
http://www.wesleyjohnston.com/users/ireland/past/pre_norman_history/vikings.html. Last
accessed 21st Dec 2013.
[5] Goodrich, R. (2013). Viking History: Facts & Myths. Available:
http://www.livescience.com/32087-viking-history-facts-myths.html. Last accessed 21st Dec
2013.
[6] Alexa Internet, Inc. The Top 500 Sites on the Web. Available:
http://www.alexa.com/topsites. Last accessed 9th Dec 2013.
[7] Google support. Upload instructions and settings. Available:
https://support.google.com/youtube/answer/71673. Last accessed 9th Dec 2013.
[8] Weber, T. (2007). BBC strikes Google-YouTube deal. Available:
http://news.bbc.co.uk/2/hi/business/6411017.stm. Last accessed 9th Dec 2013.
[9] BBC News. (2013). YouTube launches pay-to-watch subscription channels. Available:
http://www.bbc.co.uk/news/business-22474715. Last accessed 9th Dec 2013.
[10] Solsman, J. (2013). Netflix, YouTube gobble up half of Internet traffic. Available:
http://news.cnet.com/8301-1023_3-57611722-93/netflix-youtube-gobble-up-half-of-internet-
traffic/. Last accessed 9th Dec 2013.
[11] Wharton. (2003). Secrets of Successful Ad Campaigns: Lessons from Absolut, Nike and
NASCAR. Available:
http://www.wharton.universia.net/index.cfm?fa=viewfeature&id=491&language=english. Last
accessed 12th Dec 2013.
[12] Romero, D. (2011). Strategic Marketing Communication Assignment One – Campaign
Evaluation . Available: http://diromero.files.wordpress.com/2011/09/assignment-1-nike-
final.pdf. Last accessed 18th Dec 2013.
[13] h2g2. (2002). 'The Secret Tournament' - the Nike World Cup 2002 Advert. Available:
http://h2g2.com/edited_entry/A776009. Last accessed 18th Dec 2013.
[14] Gianatasio, D. (2012). Samsung Punches Apple Again, and It Hurts So Good. Available:
http://www.adweek.com/adfreak/samsung-punches-apple-again-and-it-hurts-so-good-143846.
Last accessed 18th Dec 2013.
6.2 Bibliography
Adobe. (2014). Adobe Premiere Pro CC. Available:
http://www.adobe.com/products/premiere.html?promoid=KFNXZ. Last accessed 22nd Jan 2014.
Adobe. (2014). After Efects CC. Available: http://www.adobe.com/ie/products/aftereffects.html.
Last accessed 22nd Jan 2014.
Apple. (2014). Final Cut Pro X. Available: https://www.apple.com/ie/final-cut-pro/. Last
accessed 22nd Jan 2014.
45. 36
Stoyanganev. (2014). Final Preparation. Available: http://www.audiomicro.com/adventure-
action-battle-final-preparation-royalty-free-stock-music-1038024. Last accessed 6th Jan 2014.
47. 38
FADE IN
EXT. KILMURRY FORREST #1 – DUSK
NARRATOR
Over a decade ago a band of young Viking men arrived on Irish shores in search of great
eminence and supremacy.
C - 2) Slow zoom ins alternating between Father and son as they gaze into the fire.
EXT. KILMURRY FORREST #2 – DUSK
NARRATOR
They ascended over Dragons, Knights, Admirals, Rebels and Cowboys.
C - 2) Slow zoom ins alternating between Father and son as they gaze into the fire.
EXT. KILMURRY FORREST #3 – DUSK
NARRATOR
To become the most prestigious of them all.
C - 2) Slow zoom ins alternating between Father and son as they gaze into the fire.
EXT. KILMURRY FORREST #4 – DUSK
48. 39
NARRRATOR
Leaving everything on a ravaged Dubh Linn battleground, few survived to return home
and recuperate.
C - 1) Across the dressing room shot of a jersey hanging up with a gear bag and
equipment on the ground, locker light flashing.
EXT. KILMURRY FORREST #5 – DUSK
NARRATOR
With more opponents than ever before, they prepare for battle with Rhinos, Reapers,
Trojans, Trinity and Wolves.
They may have withdrawn, but the Vikings are coming!
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
FADE OUT
FADE IN
50. 41
FADE IN
EXT. MCGUIRES FIELD #1 – DUSK
NARRATOR
In battle, victory is measured in territory gained . . .
C - 2) Slow zoom ins alternating between Father and son as they gaze into the fire.
EXT. MCGUIRES FIELD #2 – DUSK
NARRATOR
And how well one unit outmanoeuvres the other.
C - 2) Slow zoom ins alternating between Father and son as they gaze into the fire.
INT. CLASSROOM #1
NARRATOR
They strategise in war-rooms . . .
C - 2) Slow zoom ins alternating between Father and son as they gaze into the fire.
INT. CLASSROOM #1
51. 42
NARRRATOR
Where the choices they make reveal the true nature of our side.
C - 1) Across the dressing room shot of a jersey hanging up with a gear bag and
equipment on the ground, locker light flashing.
INT. GYM #1
NARRATOR
Weeks . .
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
INT. GYM #2
NARRATOR
Months . .
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
INT. GYM #3
52. 43
NARRATOR
Years of dedication and planning.
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
EXT. MCGUIRES FIELD #1 - DAY
NARRATOR
It’s not the sum of a battalion . . .
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
INT. CHANGING ROOM #1
NARRATOR
But their approach to warfare that decides . . .
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
INT. CHANGING ROOM #2
53. 44
NARRATOR
Who wins . . .
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
INT. CHANGING ROOM #3
NARRATOR
And who loses.
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
INT. CHANGING ROOM #4
NARRATOR
Men don armour . . .
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
EXT. MCGUIRES FIELD #2 - DAY
NARRATOR
54. 45
And line up against their opponent
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
EXT. MCGUIRES FIELD #3 - DAY
NARRATOR
Steel to steel, helmet to helmet we face them.
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
EXT. MCGUIRES FIELD #4 - DAY
NARRATOR
With two inches apart you stare them in the eye.
You let them know the Vikings are coming, and the Valkyries are on your side.
C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A
silhouette appears to climb out of the mound with pads still intact, breaking from a
hunched figure before stretching out into a raging stance.
FADE OUT
