Content Research
Content Research
My Role
For this project I am completing a commissioned piece for a client, in this instance I need to create a promotional video for FG Barns for one of their new vehicles. I will need to work as a freelancer to complete this projects as by doing so I gain experience in the professional industry. When working as a freelancer completing commissioned projects, often you as an individual are responsible for all roles under the umbrella of pre-production, production, and post-production. These include but are not limited to; producing, directing, screenwriting, cinematography, editing etc (Bell, 2019). As a freelancer you are “the first person assigned to a production [as] the producer” (Emm, 2014: 3). Producers are at the financial, practical and creative heart of a production. You are responsible for spotting the creative opportunity and commercial viability of a production and developing the idea based on the brief and requirements specified by your customers. An experienced freelancer and producer should have extensive knowledge of all the creative processes, commercial awareness, and great organisational skills (ScreenSkills, 2022).
From my personal experience, I was already aware of a company looking for a commissioned video and had a personal contact with them which allowed me to attain the commission relatively easy. However, there was still a process of liaising with the company to establish their expectations and desires.
Freelancing
A freelancer is someone who works across several individual contracts each year. The contracts could be consecutively or concurrently. There is a need for freelancers to source their own work. It is customary to freelance in the screen industry because it is primarily project-based, therefore, freelancers make up 28% of the workforce in the screen industries. Freelancing can be extremely rewarding; allowing you to work with an extensive range of people on a variety of different projects. Overtime, you may gain greater autonomy to define you own work hours, schedule and workplace (ScreenSkills, n.d.). BBC Talent Executive Caroline Carter said that "The people who freelance are earning more, they're being promoted more quickly, they have a range of opportunities at different companies, and they can choose the projects they work on.” (Bell, 2014). Nowadays it is common for businesses to hire freelancers; “large employing corporations such as the BBC…cut their full-time staff and rely more on contract and freelance labour” (Storey; Salaman; Platman, 2005: 1034).
This proves it can be extremely beneficial to hold a multiplicity of skills and have experience working as a freelancer as there are many benefits which come with this line of work. With freelance work being something, I have been afraid of due to the fear of financial stability, having researched the benefits more I was able to embrace this project in order to fully gain all the experience as this will be helpful if I choose to do freelance work in the future.
The Company – FG Barns
I decided to create a commissioned video for FG Barns, a car dealership, in Canterbury and Maidstone. FG Barns is a family-owned business established over 100 years ago. They offer a wide range of both new and used, private and commercial vehicles. They have a great range of stock and fantastic value-for-money used car offers (FG Barns, n.d.).
I learnt I needed produce a high-quality promotional video for one of the new Morris Garages (MG) cars at FG Barns. This was intended to be used online across various social media platforms and websites. They wanted the video to be clean and professional; showing an overview of the car while a member of staff explains the car to the audience.
The Audience
MG targets predominantly males aged between 18-35 (Bidstack, 2020). In recent years, MG relaunched the British MG brand to target European motorists who are critical and conscious. According to MG they “desire a practical car with solid quality and a high level of safety, but with a fair price … [they] want to go ‘green’ as well, but certainly without any range anxiety” (MG Motors, 2021). This clearly identifies MG’s intended audience as young at heart motorists, who are carbon conscious and aware of their impact on the environment. All of these factors were things I wanted to include within the commission, it was also important for me to establish the best way to target the younger audience MG and FG Barns desired. It was essential for me to understand this audience as a freelancer to guarantee I understood “how to create a production that [would] maximise the size of that audience” (Musburger, 2010: 5). There are a number of benefits achieved from correctly targeting the intended audience for “there is no value in such a project unless someone else is interested in viewing it and understanding your message’ and a “project has little chance of success unless you have developed a story that will attract and hold an audience” (Musburger, 2010: 4). In this instance by correctly engaging with the target audience the company would experience increased engagement and subsequently, increased sales, which is the desired response for both FG Barns and MG.
It was fundamental for me to know and understand the intended target audience of the commission before I began planning and arranging the shoot; as the audience I was targeting, and their interests would heavily influence the style and aesthetic of the piece. As the audience is young males, I needed to adopt a very macho and masculine style to appeal to this audience. In order to achieve this, I watched various YouTube videos filmed by young men within the age bracket of 18-35 to see how they perceive and vision cars but also how they decide to denote different types of cars on visual platforms. This research aided my pre-production process greatly and helped me find an effective way of marketing the car to this audience.
Audience Theory
Stuart Hall – Reception Theory
Stuart Hall developed his audience reception theory in 1973. His Essay ‘Encoding and Decoding Television Discourse’ focuses on the encoding of product by media creators and the decoding of these products by the audience; over many forms of media such as magazines/papers, television/radios, games (Communication Theory, 2019).
Encoding – The encoded messages usually contains shared rules and symbols common with other people. So the (encoder) sender has to think how the receiver will perceive the message.
Decoding – Decoding would be a successful deliver only if the message sent by the encoder is understood completely to its content as it was intended.
The percieveing of work can scope on three categories:
Dominant reading - The audience take in the work as given by the director which no extra notes attached.
Negotiated reading - The audiences who thought they know and are aware of the acts made in the film are bad and not right but get on to accept that it is fine because there is a reason behind it. Thus accepting the author’s message even though it goes against the audiences’ personal convictions.
Oppositional reading - The audience has none acceptance for the author’s takes on the concept of the film or the subject it handled. It can be morally wrong, emotionally disturbing, unnecessary adult contents of violence and blood gore, religious belief, political outlooks etc., which will make the audience, reject the idea.
(Communication Theory, 2019)
As I planned to create a video which had a particular meaning it was important for me to recognise that not all viewers of the commission will adopt the dominant and intended reading, I encoded into the piece. Therefore, I had to consider how different viewers may decode my encoded messages in different ways and how this would alter the effectiveness of the piece. For example, if I use an electric car and apply connotations of speed to it, some viewers may take an oppositional reading and interpret this as a car which is still damaging to the environment as speed is often associated with petrol and diesel cars. This may put off some of MG and FG Barns’ target audience so it was vital for me to try and minimise the risk of negative oppositional readings.
The Psychology Of Luxury Car Buyers
Perceived Value
Luxury car brands have a greater perceived value compared to other companies. This means that consumers are willing to pay higher prices if they believe the vehicle reflects the value they receive in return. Some high-quality vehicles are functionally identical to lower-priced models; it’s the details and the way the car is positioned which makes all the difference. Effective marketing is one way to elevate a brand’s perceived value; making it more desirable to buyers (Manoukian, 2019).
Status Symbol
Luxury cars can act as status symbols for the buyers. According to a study published in The Journal of Marketing there are two different types of motivations which drive consumers to purchase goods. These are hedonic and utilitarian. Utilitarian motivations are focused on positioning the consumer as smart and responsible. Whereas, hedonic motivations are more focused on self-promotion, and elevating them to a higher class on the social scale. Therefore, those who buy luxury cars are more likely to crave social status and material wealth (Manoukian, 2019).
Self-esteem
Some consumers gravitate towards luxury cars to boost their self-esteem; using a status symbol to increase confidence. This is called compensatory consumption. This type of consumption may occur due to psychological threats or negative life events which impact a person’s ego.
The messages in marketing for this market segment should have a focus on the emotional impact of owning a luxury vehicle. If this is done successfully, it can show they customer that the product is capable of fulfilling the customer’ self-esteem goals (Manoukian, 2019).
Passion
Social psychologist, Hümeyra Aslım Bilge, in an analysis of luxury consumption observed: "In recent years, the concept of luxury has expanded from materialism to time and passion, and become eventually more available. As consumers satisfy their feelings of pleasure and gratification through the luxury goods, the available luxury products will also continue to enhance its charm for consumers." (Manoukian, 2019).
Consumer Experience
In this circumstance, the term ‘luxury’ spans over more than the quality of the end product. It also sets an expectation that the consumer experience will be elevated compared to that of another company. Marketers need to consider every customer touchpoint in the process and ensure it meets and/or exceeds the assumptions that the buyer brings to the table (Manoukian, 2019).
Build Quality
Some high-quality car brands simply have an advanced build quality compared to their competitors. This makes it possible for the luxury companies to charge premium prices; which allow the possibility of using high-end finishes, better quality materials and innovative features (Manoukian, 2019).
My Conclusions Based on This
Reception theory is important to remember when filming my commission as often audiences buy into the attributes assigned to a product e.g., a luxurious lifestyle, which is what makes it sell successfully. However, this will depend on whether the audience member takes a dominant, negotiated, or oppositional reading. I aim to show how the product can elevate one’s lifestyle which will sell the product as it appears to be something the audience member needs not purely wants. My ambition is to assign luxury attributes to the car I am filming to encourage the intended audience to buy the car and ‘gain’ the associated lifestyles. I want to assign the car with lavish and futuristic connotations (as the car is electronic but also high quality) therefore, I aim to use a shallow depth of field and some low-key lighting to single out some of the car’s key features while using small and smooth camera movements to add to this. I plan on having a focus on the logos/branding of the car as well as the electric elements to really show the carbon conscious target audience how this car is beneficial to the planet but still performs to the high standard of quality they also have. However, I am also aware that not all audience members will accept this dominant reading and there will be negotiated or oppositional; therefore I plan on ensuring the commission is not exclusively bound to the intended reading I am creating so other reading will also be supported by the video.
Types of Lighting
High-key lighting is defined as “a lighting style that results in a brightly lit frame with soft lighting, minimal shadows, and low contrast … The result of this bright lighting style is a cheerful, airy, and positive mood.”. This type of lighting is used mostly for comedies, sitcoms and commercial work (DeGuzman, 2021). The lighting ratio is reduced in the scene, meaning there is less contact between the darker tones and brighter areas. The brightly lit scenes achieved through high-key lighting often suggests an upbeat mood and positive message; it can also connote truth and openness (Adobe, n.d.). Low-key lighting can be defined as a type of lighting that accentuates shadows, high contrast, and dark tones. This visual aesthetic is often achieved using hard sources of key light or minimal to no key light. It is often used to create the aesthetic of thrillers, dramas, and horror films because of the mysterious, dark, and dramatic mood the style creates (DeGuzman, 2022). There is a greater contrast between the dark and light areas, with the majority of the scene in shadow. Kenton Waltz states “low-key lighting is effective for drawing attention to serious subject matter or the darker, emotional side to the story” (Adobe, n.d.) which can be a significant visual factor for highly dramatic and heavy storylines.
This has influenced how I plan to design my shots aesthetically. The aim of a promotional video is to create a positive mood and feelings around a particular organisations/product. In my case I am trying to promote a luxury product to an audience therefore, it is vital I create positive feelings around this product to increase sales and produce a successful marketing piece. From my research it is clear that the best way to achieve this is to use high-key lighting throughout my commission due to the connotations it holds. However, I also want to play around with using some low-key lighting to try and produce a visually dramatic video with smooth camera movements in order to promote the product as luxury, as low-key lighting is typically used when the director wants to either isolate a subject or convey drama (Ward, 2015). By isolating a subject you are making it the focus of the screen, demanding all attention to it and therefore assigning it a powerful and luxurious status.
Montage Theory
What is a Montage and when are they used?
A montage is a series of separate images, moving or still, that are edited together to create a continuous sequence. Montages enable filmmakers to communicate a large amount of information to an audience over a shorter span of time by juxtaposing different shots, compressing time through editing, or intertwining multiple storylines of a narrative. Montages are used to speed up time. Montage editing can be incredibly efficient as it condenses time (Sengstaken, 2022).
They may be used for:
Comedic effect.
To develop characters; to communicate the transformation and growth of a character over a short amount of time.
To build a gestalt; “an organized whole that is perceived as more than the sum of its parts.”, various shots can result in gestalt that gives the audience a better picture of the film’s world or characters. Several short clips from a character's experience will be able to explain the entire thing based on the tone each one of them carries.
Combine multiple storylines; can drive home the theme of a film within one scene. To intertwine the different narratives within the same scene. This is especially effective to use multiple storylines together.
Create meaning with juxtaposition; The meaning and information communicated rely heavily on how the shots are arranged and juxtaposed next to each other.
(Sengstaken, 2022)
Soviet Montage Theory
Between 1924 and 1930, several Soviet films exhibited a radically original film style, generally known as the montage style. Montage was used to build a narrative (by formulating an artificial time and space or guiding the viewer's attention from one narrative point to another), to control rhythm, to create metaphors, and to make rhetorical point. There were 4 main theorists who influenced the style of montage over this period; Kuleshov, Pudovkin, Eisenstein and Vertov (Bordwell, 1972).
Kuleshov's films, and most of Pudovkin's, use montage solely for rhythmic and narrative ends; the juxtaposition of shots becomes a way to bring out the shape and nuances of a story. Eisenstein's and Vertov's films, though, constantly go beyond narrative editing to make metaphorical and rhetorical statements by means of montage. The theories of Eisenstein and Vertov are often extravagantly ambitious. Both the films and theories of Vertov and Eisenstein are more radically experimental than those of Kuleshov and Pudovkin (Bordwell, 1972).
Categories of Montage
Sergei Eisenstein categorized montage into five different types
Tonal - concentrates on the emotion of characters that is sequenced with other shots.
Metric - is inspired by the pacing of a musical score, AKA the meter. This is used to create a visual pace within a film scene by cutting to the next shot after a finite number of frames no matter what is happening on screen.
Rhythmic - focuses on the rhythm of the action taken place which is equal to the actual length of the shot. This type eliminates the abruptness and the unexpected jump from one shot to other.
Over tonal - The simultaneous use of all the three previous montages in a combination forms the over tonal montage creating conflict between the shots.
Intellectual - involves the use of all the four montage styles that arises not only conflicts between the shot but also arises a complex emotion to the audience that will make the audience the plight of the characters on the screen.
(Sengstaken, 2022)
As my commission will involve building a montage from a variety of different shots, it is important for me to know and understand both the history of montage and the different variations of montage. This further informed my decision making around the flow of my piece and they style of montage I will employ within the piece. As I plan on using fast paced music to build an intense feeling of excitement I will use a metric montage style as I plan on using the musical score to dictate the pacing of cuts in the commission. This should add some rhythm to the piece. My aim in doing this will be to create/build a gestalt for the car based on the aesthetic of the shots I chose to use.
Youtube Videos to Influence the Aesthetic
I also watched a number of YouTube videos to help learn valuable skills to film cars, types of shots which are conventional to car videography and influence the visual style I aim to use.
These include:
(Driven Films, 2020)
Don’t overuse a gimble – handheld will add interest and make it appear more cinematic
Rely on subject to provide movement
Vary shot types – establishing/wide/medium/close-up = more dynamic + engaging
Audio of the car
Shoot different areas of the car – appreciating all areas of the car
Film the interior
Pop the hood – look at the engine
Plan out shots – scout location, create a mood board, story board, shot list
(Driven Films, 2021)
Focus on safety of crew and clients
ND filter – reduces amount of light hitting the censor = no overexposed image
Reduce reflections using a CPL
Combo ND-PL filter does both of the above
Edit at the correct frame rate for moving cars
Make use of sound design in video
(Crafford, 2022)
Polarising filter takes away reflections
25 frames per second will give realistic representation of speed and power of car
Nanlite pavotube 15x for lighting – creates mystery
(Buice, 2019)
Wide angle lens
Create a slider pan without a slider by locking arms, applying tension to camera strap and using knees and torso for movement.
Camera zoom – tension to the camera strap and move in and out with camera.
(Capturing The Machine, 2022a)
Do not fill frame edge to edge with car you are filming
Move distracting objects from directly behind the car
Do not shoot from eye-level – people see from this angle almost 24/7
Do not over expose
Do not use a wide angle lens on an exterior – make choices of what to show a wide angle lens shows everything
Change up the angle
(Capturing The Machine, 2022b)
Give yourself space – plenty of room to shoot, stops plenty of reflections
Think about position of car for best highlights
Pay attention to front wheel angle – straight or pointing inwards
Make sure lights are always in focus (‘lights are the eyes of the car’ – this is where the audience will naturally look)
Side view – focus on door handle or panel seem to give contrast for the camera focus
Look for unwanted reflections – cars are giant mirrors
Consider the horizon and where it sits in relation to the car – the horizon too close to the top of the car = unsettling. Horizon too far below the roof = cuts off scenery
Be deliberate – everything should be intentional
(Truhlar, 2018)
(The Used Car Guy, 2017)
These are some car commercial I look inspiration from, these helped me develop the feel and pace I wanted to use within the commission.
It also clarified some ways to show how attributes can be attached to cars and their value can be connoted.
It is interesting to note how comedy us used a lot in car commercials to help sell them.
(The Car Creative, 2022)
(Baku Media Centre, 2015)
(Glas, 2020)
(Lombion, 2019)
(Mustafa El Ghandour, 2019)
(Lindgren, 2020)
(Chernetskyi, 2019)
These video helped me to discover the types of shots, aesthetic and style I like and helped me to build my sizzle reel.
(The Car Creative, 2020)
Glitches – keeps attention / foreshadows shots you are going to see – change opacity from 100 – 0 at different points across the video.
Lens effects e.g., lens flares
Get sound effects from the car
Use a low pass filter on loud/high pitch sounds
Use sounds to make hits in the sequence
Adjustment layers to colour grade – use LUTs
(Harris, 2020)
New cars have a defined story, used cars have a unique story
Try to showcase the three best/favourite features.
(AutoCar, 2022)
This video helped me with my sizzle reel and also helped me figure out what type of shots I like.
This video is similar to the style I am working towards as it involves a voice over so it was good to watch a different video which explored this style.
By engaging and studying this number of similar contents related to my commission it helped me to create a holistic vision of how I wanted to market the car; from types of camera angles and movements as well as the tactical use of pacing in the edits. This also worked as a form of market research, allowing me to scope out the ‘competition’ and establish the standard of the industry I would be working in. This was beneficial as I could establish the quality of work the client could be expecting of me and I could plan a shoot based around this.
References
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