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Media presentation - Feedback

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Media presentation - Feedback

  1. 1. What have you learned fromyour audience feedback?Fahmi NassirDean Mullings
  2. 2. FEEDBACK ONOUR FIRST EDITSOF OURPRODUCTION
  3. 3. Feedback – Questionnaires1
  4. 4. Feedback – Questionnaires2
  5. 5. 3Feedback – Questionnaires
  6. 6. Feedback – Questionnaires4
  7. 7. Feedback – Questionnaires5
  8. 8. Feedback – Questionnaires6
  9. 9. Feedback – Questionnaires7
  10. 10. 8Feedback – Questionnaires
  11. 11. 9Feedback – Questionnaires
  12. 12. Feedback – Questionnaires10
  13. 13. Poster 1
  14. 14. Poster 2
  15. 15. Poster 3
  16. 16. FEEDBACK ONOUR FINISHEDTEASER TRAILER
  17. 17. Feedback - Social Networking1Feedback
  18. 18. Feedback - Social Networking2Feedback
  19. 19. Feedback - Social Networking3Feedback
  20. 20. FeedbackFeedback - Social Networking4
  21. 21. FeedbackAfter we completed our teaser trailer, we found it a little difficult to get somenegative feedback. So to overcome this, we went out searching for it. We wrotedown a question for a few of our classmates to answer: “Looking through ourteaser trailer, what could have been improved or what would you have donedifferently if you were directing the trailer?”“The head exploding on the teaser trailer could be seen as too graphic and explicit.”– from Laila Shenair and Rachel Gande“The theme and message of the film can be seen as too offensive or toocontroversial.” – from Daniella Agathangelou and Sophie Barker.“You may have revealed too much in your teaser trailer.” – from Tyler Gilbert, KelsieMackinnon and Georgie Walker.“You may have exposed too much content in the trailer by showing too manydeaths. You could have exposed one death scene and saved the others.” – fromRhiannah McKenzie La Rose, Amy Holt and Tiffany Coker.“The explicit content shown in the trailer could put an age restriction on who canwatch it” – from Mr Farnsworth.
  22. 22. Feedback – What we gainedWe had some really positive feedback; mostly speaking about the professionalismwe managed to pull off and how strong our special effects were. We generally didhave these factors in mind and did aim to perfect these things so witnessing thesecomments in our feedback was refreshing and made us feel like our mission wasaccomplished.The negative feedback did make us look at our trailer in a different light; notnecessarily decrease our appreciation for our trailer, but see things in it we didn’tsee before. For example, we hadn’t really noticed how much content we revealedin our trailer until some of our classmates mentioned this. At first, we thought thatit could contain this content because the actual film could just be heavily filled withmore murder scenes which balances out how much has been revealed to howmuch can be revealed. However, a good point was made… The amount of explicitcontent in this teaser trailer means that the trailer would have to be restricted toprobably night time play; or advertised before a movie in the cinema that is ratedan 18 or a 15. As a director that would want to put no restrictions on their advertsand allow it be played more freely, we would have to cut this teaser trailer so thatno explicitness is shown. From then, the appropriate audience that see it on TVcould go on YouTube to gain access to the explicit teaser trailer after verifying theirage.
  23. 23. Feedback – What we agree withFrom the feedback, we gathered that most of the target audience would rather ourmagazine cover be simple then complex. We personally preferred “Poster 3” out ofthem all because we liked the message we was trying to get across in that poster. Itwas first difficult to pick which poster to go through with because “Poster 1” and“Poster 3” were both getting good reception.We joined Fahmi and the KKK character’s body together to symbolize they are oneand that they’re connected. We joined them together by the burning thread of thematerial to firstly reveal that there is an ethnic minority underneath the mask butthen to also show the contrast between the two characters. We also liked thecontrast between the backgrounds behind the characters. The reason why wedecided to include carnage behind Fahmi is to show that in order for him to achievehis aim he is going to have to cause a lot of destruction. The fire built up in thisbackground is to resemble rage and power. We decided to make the background ofthe KKK character forest-like as when you imagine an area burning, you wouldimagine a forest like area to burn the most effective due to the amount of woodand oxygen.However, clearly our messages weren’t portrayed in full effect for this poster as theaudience seemed to have liked poster 1 the most; so we decided to go throughwith it.
  24. 24. Feedback – What we learnedFrom the feedback, we gathered that most of the target audience would rather ourmagazine cover be simple then complex. We personally preferred “Poster 3” out ofthem all because we liked the message we was trying to get across in that poster. Itwas first difficult to pick which poster to go through with because “Poster 1” and“Poster 3” were both getting good reception.We joined Fahmi and the KKK character’s body together to symbolize they are oneand that they’re connected. We joined them together by the burning thread of thematerial to firstly reveal that there is an ethnic minority underneath the mask butthen to also show the contrast between the two characters. We also liked thecontrast between the backgrounds behind the characters. The reason why wedecided to include carnage behind Fahmi is to show that in order for him to achievehis aim he is going to have to cause a lot of destruction. The fire built up in thisbackground is to resemble rage and power. We decided to make the background ofthe KKK character forest-like as when you imagine an area burning, you wouldimagine a forest like area to burn the most effective due to the amount of woodand oxygen.However, clearly our messages weren’t portrayed in full effect for this poster as theaudience seemed to have liked poster 1 the most; so we decided to go throughwith it.
  25. 25. FeedbackOne particular person had a lot of interesting points to make about our trailer sowe tried to note it down and this is what we managed to get: “In a trailer, especiallya teaser one, you dont necessarily see the actual killings. Unless its an actioncombat scene or a couple of seconds before, and the time it spent on the screen.The killings seemed to be in isolated areas, and when that generally happens intrailers, there’s a scary build up; suspense.
The end scene of the hanging and theflashing cuts of the KKK dude was out of this world. But when youre watchingsomeone run during a trailer, it never usually is long enough to take 2 seconds ofthe screen. Since yours was like 7 seconds, theres elements in it that made itpredictable. I.e I knew he was going to either trip up or die. So for mepersonally, the suspense was killed. Teaser trailers shock the audience, and I’m sureif that was made into a film, that death scene would run on pretty much the sametime.
The structure of the opening sequence too. It was running smooth like a filmintro or something. Trailers usually bounce scenes in between it, so it doesnt looktoo structured. E.g. The unveiling of Fahmi, makes the audience think hes a majorpart of the film, like the focus is on one character. There was a lot of shots ofdifferent angles that had him in it. Moving the deaths into that sequence wouldhave made a little bit of a difference.” – From Naomisha Phillips.
  26. 26. Feedback - AnalysisThis was the most feedback we had received from one person so we felt that, asgood directors, we should analyse this feedback and comment on it. The commentshe made on us exposing our killings was fairly reasonable. To an extent, someonecould say that we did expose these killings a lot more than they needed to be as itis a teaser trailer. However, that can only be accurately judged by the amount ofkillings and violence that would be in the actual film. For example, “The BourneSupremacy” had quite a few violent scenes in it’s teaser trailer but the film itselfhas many more. So in regards to this point, we felt as if it depends on the ratio ofviolence used in the teaser trailer to the violence used in the film. Although, youcould say that we took this too far by actually including a killing.She made a statement about the length of Luke’s running scenes and how thelength of the scenes make what happens (him getting shot) predictable. We felt asif this was just a personal opinion and we disagree with this point because when wewere showing our teaser trailer to different people, a majority of the audiencewould always jump when Luke gets shot; which tells us otherwise. Also, the tensionwasn’t killed because of the use of different shots during the running scene and theway he looked back at the camera.
  27. 27. Feedback - AnalysisThe comment about the headshot scene being run for the same amount of time inthe actual film didn’t seem like a problem in our eyes. In the “Skyfall” teasertrailer, the interviewing scene was done the same way our headshot scene wasdone and was still very effective in both the teaser trailer and the film.She also made a comment about Fahmi being exposed for too long and it is tooobvious that he is a main character. Quite frankly, this was our aim as we needed a“trademark” for our teaser trailer; someone or something that gets remembered.You could argue that the KKK costumes could have that role but we felt as if therehad to be a leader. Someone taking control of this revolution and leading it “theright direction”; just like the main character in the film: “American History X”.Also, when it comes to producing teaser posters and magazine posters, the filmneeds to have a visual representation; usually a main character or a distinct objectthat is displayed in the movie many times to show it’s importance. We includedboth; the KKK character and Fahmi. They both resemble a powerful message in ourteaser trailer and we believe that they compliment each other; so getting rid (ordecreasing attention) of one or the other would have made the trailer lesseffective. So yes, we did make sure that the audience know Fahmi is an importantcharacter; however, we did not see this as a problem.
  28. 28. FEEDBACK ONOUR FINISHEDMAGAZINECOVER
  29. 29. Feedback“I can see a strong link between all of the products in your campaign!” – fromMason Stanley.“I like the blurry vision effect you used on the characters in the background photoof the magazine. I imagine a ‘lost identity’” – from Billy Bass.“I couldn’t tell the difference between this magazine cover and an official Sight andSound copy” – from Sam Adamson.“I’m not sure why it’s in black and white if every other part of your campaign is incolour. It seems like unnecessarily breaking out of your house style.” – from AliAlvandi.“I like the way you have incorporated the colours: red, white and black” – from MrLall.“I like the style of the font you have used for your film title but I feel like you couldhave manipulated it a little more for it to look more professional.” – from GabrielChukwu.“The colours used in the background photo are very powerful and emphasise theexpressions on Fahmi’s face.” – from Mohammed Kirefu.
  30. 30. FEEDBACK ONOUR FINISHEDPOSTER
  31. 31. Feedback“I like the raw environment that the photo was taken in, it makes the characterslook reckless” – from Sophie Barker.“I’m confused as to why the KKK guy has blood on him” – from Corey Collins.“I can’t see this getting advertised in public as it almost looks like it’s promoting theKu Klux Klan” – from Steven English.“Very powerful use of imagery” – from Isabella Cuttill.“Fahmi and the KKK character look like they have been through a war and back. TheKKK character is bleeding so I’m guessing this is some kind of metaphor as to whowins in the movie?” – from Laila Shenair.“The environment and the characters go really well together” – from Billy Bass.“I like how the KKK symbol looks like it’s been engraved onto the poster throughblood. Very effective!” – from Charlie Taylor.“The characters look really tough and bold; like they’re ready to send a message” –from Rachel Gande.“I think it’s a bit too simple to portray any kind of message. It looks attractivethough.” – from Rhiannah Mckenzie La Rose.
  32. 32. THE END

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