This Blog is Now Closed!

It's been a vigorous, but memorable/enjoyable experience.

 
Thankyou and enjoy!

Note to the Moderator

Dear Moderator,

Thankyou for taking your time to look around my blog and I hope you enjoy all the hard work i've put in to it. I have linked my blog to the group blog and also to Narishma, Sam and Jess's blogs (look right) to allow easy navigation. The same links are also present in the other group/individual blogs. Our class/teacher blog is also located under Latymer Media Music Video Blog and this allows navigation between all the blogs included in my year.

My blog contains all the evidence of research, planning, production and evaluation, whether its theory/theorist evidence, continuity/discontinuity applications, location research or inspirations. Labels have been used to identify these various categories.

On the group blog you will see individual named Labels, for example all of my posts are labelled Alex and this will help you identify the posts which I am involved in on the group blog.

Kind Regards,
Alexander Thoupos (3835)

Question 1: In what ways does your media product use, develop or challenge forms and conventions of real media products?

We created a video to answer this question. It goes through how we applied theories learnt in class (such as Goodwin and Vernallis (theorists)) to our final products, we discuss which conventions we use in the music video and also how we challenge the typical genre/gender conventions. We also outline our influences and how we used them in our music video + ancillary pieces. We break the answer into four healthy chunks, the first two of which are about the music video and the following two regarding the website + album cover.

To Summarise/Expand....

Music Video

Andrew Goodwin
Andrew Goodwin's theory states that all music videos can be broken down into the following 3 categories:

• Narrative
• Performance
• Concept

I would describe our music video as a 'narrative journey to a performance'. The majority is narrative, with just a small chunk at the end, filmed as performance (dance routine). This meant we had to apply similar rules to our music video as you'd apply to a film.

Andrew Goodwin also states that music videos must demonstrate genre characteristics, in our case we are making a music video for the dance/techno genre. A key characteristic in the DJ industry is for the DJ to not be seen in the music video, as they like to create an enigma. We have done just this and our artist, 'Absynth' is never seen in the music video, which some could say is a risk, but I think it was a great decision in the end.

Another key convention is for the music to cut to the beat, as lyrics are often minimal in the techno genre. We mostly cut to the beat, however we do offer a variety of cuts to keep the viewer interested.

We also use a generic cliche, which is the idea of starting a piece of media with an alarm clock. This is particularly used in film and quite niche in music video, therefore we have illustrated some film conventions in our music video.

The music is also very happy/upbeat and we ensured that the music video portrays this and our audience feedback outlined how much of a 'feel good' video ours is.

Andrew Goodwin also states that their should be some sort of relationship between music/visuals and lyrics/visuals (either illustrative, amplifying or contradicting). We chose to mainly create a relationship between the music/visuals due to the small number of relevant lyrics, however we do 'illustrate' the idea of 'celebrating'. In terms of music, we ensured to match the pace to the pace of the music and we very much use an illustrative relationship on the whole.

We also reference Goodwin's theory of the notion of looking on regular occasions, as the Panda does not directly address the audience until the end. We used this to allow the audience to feel as if they were directly involved with the Panda and part of his lifestyle.

We do attempt to involve cultural references, for example we use the London Underground as a common cultural reference and this is particularly appealing to the audience as discovered from our audience feedback.

Carol Vernallis

Vernallis' theory revolves around 4 key concepts that all relate to the way the music video is constructed:

• Narrative
• Editing
• Camera Movement and Framing
• Diegesis

Narrative

On the whole, the narrative to our music video plays the role of a journey which the Panda makes his way through. Vernallis states that an enigma or un-resolved questions are a key convention in the narrative of music videos. Our music video does pose questions to the audience such as what is a Panda doing in such human situations? and How are all these items appearing from the Panda? (bottomless pockets? magic?) She also states that their is a key driver in the narrative and in our case it's the music which pushes the pace and allows scenarios to change according to tempo.

Editing

Vernallis states that music video tends to break most rules of 'continuity' (discontinuity) and our music video displays many of these characteristics. We include jump cuts and huge jumps in time and pace, this is portrayed through the Panda bouncing from place to place within a few seconds. We also break the 180 degree rule throughout the performance section as the camera jumps all around the 360 degree circumference.

However, due to the fact that we use a film-like narrative, we do still maintain a number of continuity rules. We obey the 180 degree rule for the narrative section and also use match-on-action, particularly at the part where the Panda grabs the bike he snatches.

Camera Movement and Framing

We use many extreme jumps in shot distances, from LS to CU on various occasions for example. We also use a variation of framing throughout the video and we ensured that the dance routine was framed nice and tightly, whilst minimizing blank spaces, as we learnt from our 'Everybody Get Up' prelim video. We also tend to use a large number of establishing shots to establish a new setting, for example we use the tube sign to symbolize the London Underground.

Diegesis

Our diegesis is set in the city of London, in which we introduce an absurd Panda to a normal environment, an example of post-modernism, 'a philosophical movement evolved in reaction to modernism, the tendency in contemporary culture to accept only objective truth and to be inherently suspicious towards a global cultural narrative or meta-narrative.'

Website

How we develop/use conventions...

We use a very simple, but typical/conventional layout for the website. The headers are 'Home, Bio, News, Photos, Video, Store, Tour, Fan Page'

We use a very distinctive font as our logo, which is a typical convention of dubstep-themed artists, such as Nero who utilise a very distinctive font as their logo. This is an example of synergy which i'll go onto discuss in Question 2.

We use a very beautiful, modern gallery which is quite typical for a female artist, such as Rihanna or Pixie Lott. We use this to differentiate her from male techno/dubstep/dj artists.

The Front Page is set up as very vague, urging the viewer to continue and marketing is immediately seen through the album cover.

We make use of interactivity/social media through facebook,twitter and tumblr which is an important feature in our target audience's lifestyle and is included in many artist's websites

Home

The home page is used as a way of summarising the website in one section. We use a flash slideshow as a way for the viewer to scroll through whats on offer. This is featured in Nero's website and we used their website for inspiration. Purchasing opportunities are immediately noticed on the front page and this is important as the overall aim is to shift product/generate as much revenue as possible.

Bio

This is used as an insight into the artists life, a way for the fans to get info about Absynth which they're unable to gather from the music video. We use a beautiful shot of our artist gazing into the text, almost as if she's looking into her own heart.

News

We use the new section for the audience to get up-to-date info regarding what the artist is currently up to, and we use a variety of links to make this easy for the viewer to consume. I created the article on Absynth's relationship with the WWF:

Photos

We use the gallery for the viewer to look at all her pics and get an understanding of her character, which is not too girly or revealing. The audience can see her minimal makeup and her expressions/gestures ensure that most girls are able to relate to her.

Video

We use this section to promote the video and consequently sell the single.

Store

The Store is a valuable example of purchasing opportunities we use, which I go on to discuss in question 2. The synergy throughout the campaign is exemplified here.

Tour

The audience can get involved and purchase tickets to Absynth's tour.

Fan Page

This is a way for the fans to get involved! There are regular competitions for the audience to get close to Absynth and we include a comments section for interaction, along with a webcam chat.

Challenging Conventions

Our website makes use of most conventions, as it's been proven that they work, however we utilise a much more personal website, in comparison to the typical much more generic DJ orientateted website.

A scroll bar, which is a convention of most websites, isn't used in our website, our website is static as we wanted it to be clear and structured.

Album Cover

We utilise the conventional insitutional information on our album cover:

• Barcode
• Track Listing
• Record Label Info and Website
• Album Name and Artist Name

We include a very typical female artist front cover, however we illustrate a DJ element (headphones) to address both the conventions of a DJ and also a female artist. We drew inspiration from artists such as Rihanna, Ellie Goulding, Adele, Pixie Lott:

We chose to avoid the typical sexualised/tomboy nature of most female DJs and instead went for natural beauty and our album cover illustrates this. We also chose to focus on the artist, unlike album covers such as Nero's or Chase and Status' which are much more irrelevant/un-personal:

We chose to use a photo of the back of the artist on the back cover, a convention used by many artists which is very effective and we included a boombox to connote her DJ lifestyle.

Genre Signifiers are included throughout the album cover. We use DJ decks, a Macbook Pro and a boombox for example to illustrate her LOUD and FUNKY lifestyle.

Having conducted some research I noticed that most main singles on albums are placed between 2nd and 4th on the album. Our track, 'One More Time' is the 4th single on the album and this is an example of a convention used in the music industry.
All together, we have ensured that all our work is closely related to real media products, whilst also being fairly unique at the same time. We have referred to theorists in order to create a spectacular music video.

Question 2: How effective is the combination of your main product and ancillary texts?

Our overall campaign involves a glamorous, aspirational young female DJ whom is climbing her way up the ranks towards becoming an international superstar. We decided to utilise a very unique and eye-catching music video involving a dancing Panda and illustrating the caring side of her personality, as she is heavily involved with the World Wildlife Fund (whos logo is of a Panda). A large focus of our campaign is on social networking sites such as Facebook and Twitter, with accounts on both, as well as having free Facebook events to promote her music. We intend to utilise Youtube, a technology which is heavily used by our core audience. In terms of more traditional marketing, we intend to attract interest via Radio 1, through for example Pete Tong's 'In New Music We Trust' and grabbing articles in relevant magazines.

The link between our website and album cover is very transparent. This is especially important in terms of synergy as the album covers and website should go hand in hand with eachother. However the link between the music video and the website/album cover is much weaker, this is not necessarily entirely negative as watching an absurd music video involving a dancing Panda is often an incentive for consumers to find out more about 'Absynth', the element of mystery incentivises the audience to find out more. This was further reinforced by our audience feedback which I shall go on to discuss later.

As illustrated above, you can immediately see how effective the combination between the album cover/website is. In fact, the album cover is the focus on the front sub-page of the website.

Having conducted some market research, we decided that females would be slightly more influenced compared with males, however we still chose a fairly neutral purple for the overall colour scheme on  both the album cover and also the website. Symbolic synergy (through a colour or icon) is very effective in linking products, for example facebook, twitter and blogger have particularly distinctive icons used throughout their marketing campaign.

We chose a constant font throughout the project as another symbol for our audience to relate to, for example Nero have a very distinctive text (used as their logo)throughout their marketing campaign, which inspired us to follow suit.

The link between the album cover/website with the music video may be weak, but we have outlined the reason for a Panda music video as her debut, and whilst creating ambiguity and generating a possible viral campaign, we illustrate that her love for the WWF is re-payed in this music video and she uses the extinction of Pandas in an almost positive and loving light, to raise awareness and love for Pandas. The website has a link on the Home page, but there is also a full news article in the 'News' section.

It is vital that the record label is echoed throughout the marketing campaign and that all pieces of work refer back to the record label, which is used as a hub for all their artists. 'Absynth' has an independent record label titled 'Cosmic Productions' and this can be found in various sections of the campaign.

An ideal marketing campaign will maximise the product shifted. Our marketing campaign is full of interactive and purchasing opportunities, all linking back to the idea of purchasing the single or items from the store.

We used a store to not only generate revenue, but to also increase audience interaction. To stay consistent with the marketing strategy, we chose mainly neutral/simple colours for the clothing range, which could be detrimental however we wanted to reflect the artists identity, which is quite simple and not too loud or sexualised.  White, Black, Pink, Purple and Blue are our chosen colours throughout the campaign and the vast majority of Absynth's products very much occupy these chosen colours.

Purchasing Opportunities

• The Album (MP3/CD)
• The Single (MP3/CD)
• Tickets to the tour
• T-Shirts
• Hoodies
• Necklaces
• Keyrings
• Badges
• Caps
• Mugs

In terms of purchasing opportunities, we've ensured that we generate as much revenue as possible. We have kept it simple, however offered the consumer a wide range of options, whether they want merchandise, music or tour tickets. The Music Video helps generate sales for the single and attract consumers to the website gathering more revenue. It also increases sales of Panda-related products. The Album Cover obviously sells the album and it's professional/effective look will hopefully attract a huge/broad audience (SALES!). The website is obviously the platform/hub for everything else and it includes information relating all kinds of purchasing opportunities.

Interactive Opportunities

Interactive opportunities are important, as they create loyal consumers through exciting competitions + interaction with the artist.

Our website contains a webcam chat with 'Absynth', which is a massive step forward in terms of technology which i'll go on to discuss later. Furthermore, the audience is almost face to face with the artist, building up HUGE audience appeal.

Our website also includes a competition to reward our consumers and to also increase audience interactions and again audience appeal. 

We have a page dedicated to Absynth's fans and they can post comments and get involved with our artist's career and her future.

Fans can also sign-up with the website to recieve regular newsletters and to feel part of the Absynth community.

We also fully utilise social networking through Facebook, Twitter, Tubmlr and Blogger for the audience to gather all the info regarding Absynth and also generate information about future events/purchasing opportunities, increasing future sales revenue.

All together, I think we’ve created a clear artist identity and have made it very obvious to the audience what Absynth is all about. I believe that the combination of our products work very well, however if I had to improve the music video I would include a short cameo artist appearance to great a more transparent/solid link between our products. However, the products help market and promote the artist, leading to increased revenue which is ultimately the most important factor. I am very happy with the final product.

Question 3: What have you learnt from your audience feedback?

Our Target Audience

16-24 Year Old Males/Females

After conducting a huge year 13 media screening which generated 150+ people, we decided to get an insight into some people's opinions which led us to creating a focus group of 9 people mostly ranging from 17-18 years old. Our screening was a huge success and we got some invaluable feedback due to some well written questionnaires:

Group 4 Audience Feedback Questionnaire

Group 4 Questionnaire Answers 2

Furthermore, we decided to interview a boy and a girl from our focus group to get an insight into their minds and what they specifically think of individual aspects of the music video:



We also had a group discussion regarding the feedback from the questionnaires written by our focus group.



Summary

Music Video

On the whole, our focus group's music tastes were very widespread, regardless they still agreed that our genre of music was either Dance or Techno.

They felt happy, cheerful, positive, 'made them laugh' which illustrates that our video has a feel good factor which is important and something we hoped to achieve.

On the whole, peoples favourite part was the London Underground section, they loved the Panda dancing on the train and some also chose the Greggs part as their favourite. This is probably because these are areas the public can relate to and therefore seeing a Panda in their everyday places is particularly enjoyable.

They didn't enjoy the Panda stealing bike part as they said it promotes stealing, which wasn't the message we were illustrating, we were trying to portray a cheeky Panda, not a theif. Someone also disliked the observational style, which in our opinion is a good thing as we were aiming to achieve a documetary style so we're glad this has been achieved. Including the artist was another issue raised, e.g. David Guetta and they said that the video was quite repetitive, however this is something we aimed for as the song is very repititive and this amplifies Andrew Goodwin's idea of illustrative music video.

Out of 10, the video was rated on average 8.3/10 which is pretty good.

Album Cover

Our focus group found it easy to identify the artists name, album name and the production company which are key elements/conventions of all albums.

They identified the genre as Dance after seeing the album cover, due to the DJ element.

They all found it visually appealing and they loved the layout, the big picture and the colour.

Some, however disliked the font/font colour and one suggested another picture on the front colour, however this point is perhaps quite ignorant as we have researched solo female artists, and one large close up is the typical convention.

Out of 10, the album cover on average was rated 7.9/10

Website

Our Focus Group answered yes to all key concepts.

They loved the colour scheme and how professional it looks, they also enjoyed the features such as the Tour Dates.

They disliked the music autoplay feature and suggested some sort of volume control, one also said that the site is quite congested.

The majority of our focus group said that they would re-visit the site due to the sheer mass of content involved.

Out of 10, the website achieved on average a huge 8.8/10

Question 4: How did you use new media technologies in the construction and research, planning and evaluation stages?

The development of new media technologies over the last few years has been HUGE! There have been many changes to the way media is presented, distributed, produced and marketed. HD TV, Web 2.0, Youtube and New Social Media Technologies are key examples.

We utilised new media technologies throughout our project, from research/planning right through to the audience feedback/evaluation. New media technologies have been essential in providing efficiency, professionalism and quality in particular.

Web 2.0

The development of the internet to Web 2.0 has been very important to the media industry, and we ensured that we illustrated a vast number of its features in our final outcome.

A variety of features are listed in our website which are illustrated below:



We also made a mobile website which is a key feature of our marketing campaign as we are targeting teenage males/females who tend to use their mobiles 24/7, therefore being able to access our artist through their phones is a huge development in new media.

 

Wix.com was the software we used to produce our website, it's a flash-based software (no HTML!) and far less complicated than a programme like Dreamweaver. It's an easy software to understand and offers a variety of features which we made sure to dig into, the adding of photos, live links, videos, and changing font sizes and colours were all extremely easy!

Adobe Premiere Pro/Photoshop CS5

Our Media department is lucky to have very up-to-date media technologies. To edit our music video we used adobe premiere pro and it's various features have been incredibly important, the following video illustrates some editing features we applied:



Colour Grading was VERY important in the final stages of production, to give the video a professional look and a consistent style. The following tutorial has been created by my group on "how to colour grade":

We also used Photoshop CS5 to edit photos and create our album cover/merchandise.

The paths tool and various layer types, such as 'overlay' and 'lighten' were specifically used by myself, and helped to add variety and professionalism to our work.

Scribd

Scribd has been used as an easy way to present documents in an HTML format.

eBay/Amazon

Both were particularly useful in the research and planning stages. We had various products to purchase, which included the Panda Costume, a Boombox for the artist, and headphones...

Sony HDV 30

Our group used various HD Cameras throughout this project, one of which was the HDV 30. I experimented with various functions, including manual focus and contra-zooming. The HD camera added a greater richness, depth and quality to our shots in comparison to other standard DV cameras. 

Social Media

96% of 16-24 yr olds use social networking sites and this statistic is key in understanding why we chose to promote our work through facebook, twitter, youtube...

Facebook

Possibly the most relevant example of essential social media is Facebook. It was use throughout the project, particularly in the research and planning stage and when creating facebook events.

Communication was essential throughout the project and I believe we had top quality communication, myself and Sam chose to use Blackberry Messenger along with Screen Muncher (a screen caputure application) to refer to relevant conversations or examples. We have a Facebook group which we regularly post in to allow efficient communication:

We used Facebook to create and promote events relating to our media product, particularly when attracting actors for our various shoots:

We have also used Facebook to gather larger audience feedback in terms of the evaluation/post-production stage.

Twitter

Twitter was used mostly in the research/planning stage, we made our own twitter account in which we posted info to the public relating to how the project is panning out.

Youtube

Youtube has been a huge success and is a great way to publish videos for the whole world to see.

We have used Youtube as an efficient and intelligent way of posting various videos relating our final product and reaching our audience.

Demographics can also be analysed through Youtube's 'Insight' feature, for example I can see which gender tends to watch our videos and from what age group/location they're from.

Blogger

Blogger has obviously been used as a way of presenting our ideas through our group/individual blogs (particularly in the evaluation stage), my understanding of HTML coding has yet again improved as i've browsed through the coding to edit various features of my blog's design (mostly self-taught).

Without the development of new media technologies, i'm nyouot sure we could've produced such high quality work in such a short time-frame.

The Production Process: Shoot Summary

This post could be broken up into several separate posts, however I decided to merge all the individual shoot summaries into one long post, as it's probably most appropriate.

The final idea required a HUGE number of shoots (possibly a Latymer Record)...while the park idea required just one shoot, the final journey idea totalled to over 11 unique shoots.

I've decided to conduct a shoot summary, something unique and appropriate:

Alex's House + Cycling Shoot #1

Sam and I realised that we had the morning off from School so we decided to shoot the opening sequence at my house between 09:00 - 13:00.

This went well and we were very time efficient, managing to shoot everything we needed (at the time) at my house which included the Panda jumping out of bed, doing various exercises which forced Sam and I to carry a large mirror to my room (which we didn't use in the end) for weight lifting mirror shots. We shot the Panda getting ready for school in the bathroom, dancing down the stairs and leaving the house.

We generated enough time to shoot a variety of cycling shots throughout High Barnet. We shot the Panda snatching the bike, racing through the park, down muddy hills and staircases and cycling all around High Barnet and down the High Street. Opportunistic Shots occured, which included shooting the Panda cycling through an enclosed hedge space, entering the 'Panda Cafe', busking at the front of my local shopping centre, and entering Gregs and purchasing a Sausage Roll.

This shoot was invaluable and marked the start of a vigorous three weeks of production.

Underground Shoot #2

Two days later Sam and I conducted another shoot alone. This time through the London Underground which lasted an unexpected four hours.

While recieving a huge number of important tube shots, we also managed to film the Panda purchasing a newspaper and also taking photos with local tourists. We filmed various entrance/establishing shots, train shots, platform shots, train entrance/exit shots, in carriage shots and what took the longest was filming the elevator shots. We filmed the Panda coming down the elevator on numerous occasions and also filmed him from a side angle (I was travelling up one elevator while the Panda was travelling down another), this proved difficult and was a waste of time in the end as we didn't even use it :P

This shoot was possibly the most enjoyable, but definitely the most tiring shoot, walking around a packed London Underground was difficult for Sam, but good fun overall.

After the shoot we noticed that twitter was full of people tweeting about us and how they saw a Panda on the Tube! This illustrates the huge developments in Social Media, as our shoot became global within hours. The following images illustrate this, and you can see myself with the camera in the second pic:

Bush Hill/Greggs Shoot #3 

This shoot involved myself, Sam and Jess. We filmed shots of the Panda dancing in Bush Hill and in front of the shops, we also filmed various shots in Greggs Bakery, which included the Panda entering Greggs, purchasing food, exchanging money with the cashier, looking longingly at Cakes and the Panda with his face covered in crumbs.

This shoot got us involved with the public and recieved a huge reception...cars were constantly aknowledging us as they drove past and beeping at the Panda. It was a necessary shoot and a large number of the shots were used in the final footage in possibly the most engaging part of the final music video.

Bush Hill Busking + Rose Shoot #4 


Later that day, myself, Sam and Narishma continued the shoot and got plenty of footage of the Panda busking for money with his ukelele in front of Greggs, in Bush Hill.

This was very enjoyable and we managed to also gather footage of the Panda entering a rose shop and purchasing a rose for a female panda. Unfortuantely, the rose footage was not included as we had decided to not involve a female Panda until the end. All was not lost, as we managed to get footage of the Panda high-fiving a bussinessman in front of the Rose shop which we did use in the final music video :)

Panda Skateboarding Shoot #5

This shoot involved myself, Sam and Jess. I played the role of panda in this shoot, as we used my skateboarding talent (slightly above zero talent) to cast me as the skateboarding panda.

We travelled in Jess's car to quiet roads in which I grabbed the boot of the car as the Panda while on a skateboard and Jess drove forwards, pulling me along the road as a mode of transport for the Panda and to spice some energy into the music video.

This was a difficult role as the road surface provided huge friction, often preventing me from getting the skateboard to move while being pulled by the car. We used a lot of the footage from this shoot, including a dance sequence which I ran through as the Panda.

Routine Shoot #6

This shoot required the most planning. We had to arrange a large number of students to get involved in the  routine with the Panda in just one day. We generated a huge number of actors in the end, which was a great outcome.

I had to also crop the original song to just the routine part, which was used for the playback in the routine and I got food for the actors.

We had to organise ourselves and we were each given roles, I was the main camera-man and I filmed the master shots plus the action shots. Jess was on a separate camera and she filmed the Panda's movements. Sam was acting as the Panda and helped teach the routine to everyone. The routine was a simple four movements, and we created a tutorial for it:



The shoot went really well in the end, we gathered lots of footage and some vital footage for the video. I even managed to get a cheeky nibble beforehand :)

Introducing Students Shoot #7

After the successful routine shoot, myself, Sam and Jess needed to gather some shots to link up to the routine. We organised four actors (along with Jess) to jam with the Panda through the school up until the entrance of the dance routine.

I was allocated the role of camera-man, whilst Jess and Sam were actors. We managed to overcome adversary, as the location we filmed the actual routine in was locked, therefore we used a different location to film the entrance, which worked well in the end.

Interaction Shots Shoot #8

One morning we arranged to shoot at 07:45am in the surrounding school area, living in High Barnet this meant I had to wake up earlier than usual and leave the house ten minutes earlier, but it worked out well in the end.

We gathered twenty minutes of vital interaction shots, as the Panda rampaged through school kids high-fiving some and hugging others. We also got shots of him dancing down the road in front of the school.

Narishma and Myself were on the camera, whilst Sam was the Panda.

My House Shoot 2 #9

We decided that it would be useful to get more content shot at my house, so on one Saturday, myself and Jess (along with her brother) got some more shots of the Panda waking up and dancing in all areas of the house. We also gathered plenty of alarm clock shots to use as the important establishing shot.

I was the camera-man for the majority of this shoot.

Outro Shoot #10

This was filmed at the school and involved myself, Sam, Jess and Narishma. Sam was the Panda and the rest of us cycled between the camera and acting.

We needed an effective and unique ending, so we got shots of the Panda exiting the school gym and also walking out of the school gates to be greeted by a female Panda (Jess) whom is wearing a huge pink bow.

We filmed a variety of shots and managed to gather more than enough content to create a strong ending.

Newspaper Shoot #11

The final shoot was a quick one, as we needed content to link the purchase of a newspaper to rushing off to the tube.

I was the Panda in this shoot and I needed to walk with the newspaper, lean against the wall, browse through it, look at my watch and realise that i'm gonna be late for school so I close the newspaper and run off towards the train station.

Additional Notes:

Along with 11 shoots, we also conducted regular test shoots and location research. I also got shots of the female panda in a frame being held by the main Panda, however this footage was not used in the end.