How effective is thecombination of your mainproduct and ancillary texts?By Victoria Emerson and Nicola Pritchard.
Victoria’s Ancillary One. The task for ancillary one wasto create a newspaperadvertisement for thedocumentary. I created mineusing photographs which Igathered from the Hope FMFacebook page. I have usedthe logo and the colourscheme in this image, as hasbeen done within thedocumentary. I feel that thisadvertisement addresses thecorrect target audience, I alsofeel the colours are relevantand the equipment used isappropriate to the overallcommunity radio theme.
Victoria’s Ancillary One. These are the strengths and weaknesses I feelthat are in my newspaper advertisement.
Victoria’s Ancillary One. To get a better idea ofwhich context I would liketo place my newspaperadvert, I decided to createmy own communitynewspaper as anexample, as I felt that itwould clearly represent thetype of newspaper thatHope FM would place anadvert.
Nicola’s Ancillary One. I took all the photographswhich were used in mynewspaperadvertisement, thephotographs are ofequipment which is seen inthe documentary. I createda colour splash on this, as Ifelt that this was simpleand effective. The colourswhich I kept in the advertwere the three colour motifof red, blue and yellow. Ialso added the Hope FMlogo, which is seen in thedocumentary, as well asbeing recurring in theancillary tasks. I feel thisrepresents the overall radiotheme in the documentary.
Nicola’s Ancillary One. These are the strengths and weaknesses that I feel are inmy newspaper advertisement.
Nicola’s Ancillary One. I decided to put mynewspaper advertisementinto context and decided tocreate a mock of a typicallocal newspaper. I decidedthe newspaper should belocal, as Hope FM is a localradio station, therefore it isrelatable and would be anewspaper where a HopeFM advert may be placed.
Victoria’s Ancillary Two. For my radio trailer, I used clips which were in thedocumentary to make it relatable to the documentaryitself. The voiceover for my radio trailer is RyanBoydon, who is one of the interviewees in thedocumentary. I decided that this would be a good wayof relating the radio trailer to the documentary, as wellas the use of the clips, which show the audienceaspects of what is to be included in the documentary.
Nicola’s Ancillary Two. For my radio trailer, I used Victoria as the voiceover, whois one of the interviewees in the documentary, as she isone of the presenters at Hope FM. She has a cleardialect which will suit the Hope FM audience, as she doesnot have a heavy accent. I also used clips that are in thedocumentary in the radio trailer, as this makes the trailerrelatable to the documentary itself. The use of the clipsalso would give the audience an incite to what willhappen in the documentary. The slogan ‘Life ChangingRadio’ is also said in the trailer, as this is the slogan forthe radio station, as well as the title of the documentary.
Victoria, Main cut. During the editing of the documentary, I made sure tokeep the motif recurring through the documentary. Thedocumentary starts off with a jingle, which is actuallyfrom Hope FM. I feel that this brings a feel of the radiostation itself to the documentary, as well as the jinglebeing recognisable to the listeners of Hope FM. This isstock footage, and brings the radio station to thedocumentary, which creates an introduction,accompanied with establishing shots of theBournemouth, Poole and Christchurch area.
Victoria, Main cut. The way that I edited the opening sequence to thedocumentary with the establishing shots ofBournemouth, Poole and Christchurch. I felt that thiswas effective, and that the montage related to what wasbeing said by the jingle. I wanted to establish the areaof which Hope FM is broadcast. These shots would berecognisable to the listeners of Hope FM, as this is thearea that Hope FM is broadcast.
Victoria, Main cut. I created narrative devices which I have used in thedocumentary. I created these on Photoshop. Thesenarrative devices were created to break up theinterviews, and introduce the next interviewee to theaudience. This narrative structure also makes thedocumentary flow, and it adds a sense ofprofessionalism. This is accompanied by a voiceover bythe documentarian, which creates a motif and aconsistent rhythm throughout the documentary.
Victoria, Main cut. The legends were created by downloading Photoshopbrushes from DeviantART. Using these brushes, wecreated a PNG file, which meant that we could use itwithout a background, this indicatesprofessionalism, which is important because it not onlyreflects our work, but Hope FM as a radio station as well.
Victoria, Main cut. For the sound within the documentary, we used anexternal sound device, the Tascam IM2, which meantthat during the editing process, I had to sync the audiowith the main video, which required me to accuratelyjudge the timing of both the audio and the video files. Iused devices such as sound bridging, this was necessarybecause Hope FM is a radio station, and so the soundquality and editing had to be proficient.
Victoria, Main cut. In the introduction of the documentary, I felt that addingthe production names would add a sense ofprofessionalism. These production logos were created onPhotoshop, and are relatively simple, and made withsimple colours, such as pink and purple. This addsprofessionalism in the form that a documentary wouldtypically show the logos of the production companiesthat it would be created by.
Victoria, Main cut. During the editing for the opening sequence, I madesure that the Hope FM logo was included. I felt that itwas important to have the logo as part of the motif, andalso to add a sense of professionalism. I saved the logoas a PNG file, and overlaid it onto the video. I felt thatthe use of the logo is important, especially during theintroduction, as this establishes the logo and the radiostation itself to the audience.
Victoria, Main cut. I made sure that in the main cut that there would beplenty of intercuts. I wanted the intercuts in thedocumentary, as this would keep the audienceinterested. I made sure intercuts were added to specificparts of the interviews, the parts which I felt were not asinteresting for the audience to look at. These intercutsare relatable to what is being said by the intervieweeson screen. I edited these into Final Cut, and I placedcross dissolves on them, as this would make theintercuts flow more, and add a sense of professionalism.
Nicola, Main cut. During the cinematography of the documentary, I madesure that there was a motif. I filmed different things inthe documentary which included the Hope FM logo, tocreate a recurring motif, such as the use of the Hope FMfoam finger, the leaflets which say ‘Hope FM, LifeChanging Radio’ etc. I felt that this would re inverse theoverall Hope FM theme in the documentary.
Nicola, Main cut. I used a DSLR camera, a Sony A33 to film everything inthe documentary. I felt that this would add a sense ofprofessionalism to the documentary. The camera is ofvery high quality, and is capable of doing focuspulls, which are prominently used within thedocumentary.
Nicola, Main cut. Within the documentary, I included a lot of shots ofvarious radio equipment. I felt that this emphasised therecurring theme of radio, and gave the audience anincite into the radio station as well as providing themwith the visuals of the recurring radio theme. I felt thatthe mise-en-scene was very important during thefilming, as this is a micro element, as well as providingthe audience with the visuals, which are needed toaccompany the audio, and represent the radio station asa whole.
Nicola, Main cut. I used a variation of camera angles during the filming ofthe documentary. These vary from establishing shots, toclose ups. I used mid close ups prominently, as I feltthat this would be a typical documentary styled angle forthe interviews. During the interviews, I made sure thatsomething radio or Hope FM related could be seen in thebackground or foreground, e.g. during Ryan’sinterview, another presenter can be seen presenting, aswell as the computers in the production studio.
Nicola, Main cut. I filmed a lot of intercuts for the documentary, as thesewould be needed to keep the audience interested. I useda variant of shots and movements to film these, such aspannings, close ups, etc. I made sure that theseintercuts were of professional looking quality, and wouldbe relatable to what is being said in the maindocumentary itself, e.g. filming Victoria and Ryanpresenting when Victoria is talking about presenting.
Nicola, Main cut. The shots which I filmed were created using both atripod and using the camera handheld. I felt that thiswas effective to the shots of which I was filming. Thetripod created steady shots for shots such as theinterviews, and the handheld was used for exploringdifferent heights, such as filming on a table for thefaders, and filming high up for the blue phone light.
Nicola, Main cut. I made sure that during my filming that lighting was wellthought out, as I used natural lighting for theestablishing shots of Bournemouth, Poole andChristchurch. I also used the lighting in the Hope FMstudio, and pointed it in the direction which would be themost beneficial lighting wise during the interviews andthe intercuts. I also never shot into the light, as thiswould have taken away the sense of professionalismwithin the cinematography.