BRANDING DIGIPAK Anthrax album trailer, vinyl, digipak

BRANDING + MARKETING ACROSS MULTIPLE PLATFORMS

What you can learn from this example

- you should have a clear, consistent brand image and concept to promote
- that consistency would extend across multiple platforms and even merchandise
- most artists will change website banners, YouTube icon/banner (etc) to highlight their latest release or tour
- artists increasingly create video content that can be shared (ideally go viral) ... even short promo clips for an album with self-filmed interview-style footage
- artists also increasingly embrace and create content that was seen as typical of UGC/fan-made videos, notably the lyric video
- you can present research into any coursework topic by creating content that takes on a recognised media format: magazine feature, radio or TV interview/chat show appearance, e-zine interview (more informal, including setting), podcast ...
- the Anthrax Twitter's most recent update was on Record Store Day - formats like these are ideal to convey your grasp of industry topics like the role of vinyl; the issues around streaming and revenues; influences ... even technology ...
- ... it could the album producer, songwriter, video director, video editor or cinematographer (especially to discuss technology used: hardware or software) sleeve art designer, record label executive, band management, fans, ... there are many options. Great website content, research evidence, Evaluation content...

The self-produced Anthrax new album promo is like an interview or TV feature

Pics to be added - a bang up to date example of the multi-formatting that forms part of the marketing for many album releases now.

Unlike many other examples, this isn't a reissue - indeed, the thrash godfathers have put up a video of interviews to trail the album release, with the YouTube description featuring US and UK links for different formats.

Look out for magazine ads for this - drop me a link if you see one.

As usual, convergence is evident here: someone posted a link in a FB group pointing to a metal news site that had their own video which in turn linked to the band/record label's trail video...all accessed, viewed, clicked, read and blogged on through my phone - albeit pictures, saved from phone, formatting and tagging will have to wait til I'm sat at a PC/Macbook!

THE ANTHRAX ALBUM PROMO

ANTHRAX DRUMMER INTERVIEWED FOR AN E-ZINE'S PODCAST SERIES, AND E-ZINE ARTICLE ON THIS!

CIE blog improvements summary

Research + Planning improvement points

(1) review/proofread, especially for presentation: well illustrated? hyperlinks? embedded material [not links to this]? no small text? clear sub-headings? embedded material? any 'TBC'? logical post order/date? 

sans spacing!

This is obviously a HORRIBLY presented post!!! Text should never be allowed to dominate on a blog post, especially a long one. It was worse until I at least added some space between points! [see screenshot fragment] Oh ... and tags! No hyperlinks, almost no imagery, nothing embedded (though clear sub-headings, font + colour + size variation...)

(2) is your journey clear? have you reflected on shoots, edits, feedback? posted alternative versions you tried in editing? evidenced FCPX/P'shop (etc) tools you used over time? is there detail on each shoot? DETAIL on each edit (what changes, why; evidence of experimenting: short scenes with different edits [eg FX]; any feedback on this cut; how this cut reflects previous feedback; tools used; planned further changes...); have you used podcasts to anchor the sense of journey? 

CIE Eval Q3a AUDIENCE ENGAGEMENT

CIE Evaluation Q3 asks:

How do your products engage with the audience and how would they be distributed as real media products?

This ('3a') is similar to the UK OCR Eval Q3, which looks at the narrower issue of audience feedback - but in practice is essentially an overview of engagement with the audience.

KEY POINTS:

• provide a very clear, specific breakdown of your primary and secondary target audiences
• screenshots from blog posts/links lists are useful to help hammer home you are APPLYING research (assuming you have!)
• set out the web 2.0 framework: how has digitisation changed the way artists engage with audiences? If you're covering this is more detail for another answer, say so but give a brief summary
• consider the mode of address of your texts: direct gaze to camera? use of I/we/you/us in any writing? direct invite to interact with the artist? the look (branding) of costume, choice of locations: distant/ultra-glamorous or humble/relatable (maybe a mix)? implied representation of audience in the video or elsewhere? intertextuality?
• did you include a viral element in the digipak and website? (you really, really should) discuss in detail if so
• website and social media: how widely did you exploit modern tools to engage with the audience and how - include plentiful examples, and detail any branding involved. audience feedback? research or feedback on early ideas? use fansites? Facebook groups? Twitter/Instagram hashtags?
• IF you got any responses (the 2015 A2 Lady Gaga is a great example - they ended with 100s of followers) were these useful, productive? SHOULD artists be close to audiences or maintain more of a mystique?
• sum up: did you engage successfully/as well as you might? is there anything you can now say you should have done?

UK EQUIVALENT STUDENT ANSWERS
CIE Q3b is fairly similar to the OCR (UK) Q3. Here are some examples:

compare the thoroughness of links lists with yours...

Kate (see below) smartly made sure her understanding of points linked to other answers would be credited

Amber: popstar/Madonna clone Lady Gaga 
This isn't so well presented, and would clearly benefit from more substantial engagement with audience theory, but is especially useful as an example of depth of engagement with audiences. This production partnership (here's Conal's) made extensive use of social media, attracting a sizeable following, dipped into fancies, and took every opportunity to test out their work with a variety of audiences, consistently noting the response and their thoughts and consequent planned actions.

CIE Eval Q2 BRANDING

CIE Q2: How do the elements of your production work together to create a sense of branding?

This is very similar to the UK OCR Q2, which considers how well the 3 components work as an overall package.


PREPARATION FOR THIS ANSWER:
Research existing examples: look at some examples of a single act/artist's website/album cover/video and assess how tightly integrated (in mood/tone, not just direct visuals) they are or aren't. You could discuss how likely it is that videos especially would be directly linked to digipak or website design (usually multiple videos for any album, often from different directors...).
Create a grid with 3 columns: video, digipak, website/online (you could split online [social media] into a 4th).
Start with video and note any feature which is replicated or similar in 1 or both of the other 2 (include branding for YouTube, Twitter etc profiles with website). Take screenshots as you go for use in answer.
Work through digipak and online content too, check if there's anything you missed (there may be some links just between these 2 but not video).
Think again: consider the mode of address, maybe in/formal, humble/brash, accessible/distant ... what MOOD have you created? (the visual links may not be so direct, so you may not have considered branding like this)
Review your notes - can you see themes/issues you can link together? Can you see opportunities to apply theories (eg web 2.0, intertextuality, postmodernism more widely)?
Organise your response into clear sections/themes.
You could also seek audience feedback: question a sample, ask them to describe the brand image.
Provide a short summary: this should include your thoughts on how you might have improved on this!

SIMPLE SUGGESTED STRUCTURE FOR YOUR ANSWER:
Discuss, with examples, how typical or not it is to tightly integrate 3 distinct media formats (you'll find examples that do and examples that don't!) - do websites especially tend to change to reflect new releases (yes!).
Brief outline of the artist's existing brand and likely audience.
Brief outline of the brand and likely audience you were aiming for. If it helps, what product (or other existing artist) would you compare this brand to?!

For creative content, consider what brands/products this artist might agree to advertise, which company would pay them to be a 'brand spokesperson' (and create an ad!). Interview with (or promo package by) a design agency and their creative team.

Outline the links between your texts, taking 1 clear theme at a time, and thoroughly illustrating how these link across 2 or more of your texts. As you do, be very clear if you have taken separate photographic images for print work (a good thing!) rather than just use video screenshots.
Provide a summary, including assessment of any changes you now think you should have made

KEY POINTS:

• define your primary and secondary target audiences (who the branding is aimed at!!!)
• sum up the existing branding for the artist - is the existing audience the same as yours?
• are you changing the brand image? if so, how/why?
• how zeitgeisty (or perhaps retro - Retromania?) is your branding?
• what role did social media play in binding together the video, digipak and website branding?
• did you brand the YouTube and social media profiles? (consider the branding across the websites and social media observed in my exemplar case studies)
• be clear and specific not just on the detailed links between your texts but any differences within these (e.g. the singer in the video setting/costume, but a unique photographic pose)
• it can be very helpful to ask yourself (as many artists and their managers will): if an existing brand was to sponsor your artist, which would it be and why?

UK STUDENT EXAMPLES

Amber: Lady Gaga

Conal (Amber's group partner): Lady Gaga

Kate: Girls Aloud (pop '00s girlband)

Clear, well illustrated vodcast, and Kate also made clear links within other Eval Qs - a good idea!

Curtis: dance act Faithless
Detailed and largely well illustrated, he closely followed my suggested structure. Curtis also embedded a range of videos from earlier in the blog in this post -

it is a smart move to very clearly link/demonstrate the range of research you are APPLYING through this answer, with playlists/embeds/screenshots (of posts, links lists), list of links, tags etc!

...

CIE Eval Q1a CONVENTIONS

Also see Chief Examiner's guide (for UK spec, but very similar, as is exam) 

This question provides an easy opportunity to elevate the level of your response using theories you'll need to engage with for exam Q1a/1b; have you thought of how you can discuss genre theories here for example? 

Take a moment to consider carefully the question (I've added 1a/b), and the very specific terms selected:

Q1: (1a) How do your products use or challenge conventions and (1b) how do they represent social groups or issues?

CIE Eval Q3b DISTRIBUTION

See also: INDUSTRY ISSUES SUMMARY Digital streamed past physical in 2015

CIE Evaluation Q3 asks:

How do your products engage with the audience and how would they be distributed as real media products?

As part of your background research you should investigate how the music industry works, considering issues such as those below - a more extensive list of issues can be found in this post:

• who are the 'big three' (now big two?) of the music industry?
• what's the difference between Indie and conglomerate or subsidiary (consider vertical and horizontal integration + synergy - terms from AS learning)?
• how has digitisation impacted ('disrupted') the music industry?
• has streaming effectively replaced lost revenues from physical media sales for artists and labels?
• how else are musicians seeking to monetise their work, brand and fanbase?
• why is vinyl making a comeback, and how wide or narrow a range of artists/genres are publishing in this format? is it just for older, nostalgic audiences (Simon Reynolds: Retromania)? 
• do you still need a record label/deal? think about Soundcloud, Vimeo, YouTube ... but also how difficult it is to make real money from streaming (Harlem Shake for the opposite!), and Elberse's argument/case studies (Jay-Z and Gaga) in Blockbusters (cheap as an e-book)
• does the rise of crowdfunding, Kickstarter etc, prove the audience/producer divide is dead?
• are social media interactions as important as the music itself?
• where does video fit into this picture? consider convergence and what this means for the increased accessibility of video and the expansion of video production too (you're a part of this), plus UGC such as lyric videos and digipak/CD unwrapping videos

Evaluation Q3 asks:

How do your products engage with the audience and how would they be distributed as real media products?

Focusing mainly on the second part of this, use the following resources to create a post on music video distribution. You should make some reference to recorded (CD) music distribution too, linked to your digipak, and any notes/examples on marketing, social media and audience engagement/interaction will also help.


CREATIVE APPROACHES
Interview a record shop owner
International Record Store Day feature
Interview someone (or multiple people/roles) at the record label 
The artist does a promo for record store day, or speaks out about why they're unhappy with YouTube especially...
Band/act's accountant discusses their hits/streams/followers/subscribers data (screenshots!) on any streaming platform they are on (soundcloud, YT, Spotify...). Don't forget that lyric vids etc are still distributing the music

INDUSTRY ISSUES SUMMARY Digital streams past physical

IN THIS POST: extensive lists of points you might cover to demonstrate your grasp of the music industry. There are lists on digital disruption; the changing audience/producer relationship; the morphing album format; changes with music video ... A LOT of points are covered.
Use this post with DISTRIBUTION overview (especially for Eval Q3) 

Some thoughts and a list of various issues/examples linked to the impact of digitisation (and convergence - the two should always be linked) on the music industry, the album format and the music video, with some points on marketing (which the video is of course part of) too. I've blogged on everything mentioned below. Don't quote me in coursework - find the source/s I've used or do your own search for other quotable media articles.

CIE EVALUATION Q1b REPRESENTATIONS

you can find more on the Evaluation overall in this hub post.

CIAE Q1b 'how does it represent social groups or issues'

DIRECT EXAM LINK:

This is essentially practice for the first half of your exam: the Q1b REPRESENTATION topic (and AUDIENCE eg U+G, with further links to GENRE eg sub-culture, NARRATIVE eg hero's journey and MEDIA LANGUAGE eg simulacra), and links into Q1a, especially 'U' (use of conventions).

You need to consider and select a range of theories from your MANGeR pack, and apply both elements of semiotics when you provide examples:

• specific and precise denotation (WHAT you did)
  
• analysis of possible connotations (WHY you did)

A VERY BRIEF OVERVIEW:
Tackle either 1 character/setting at a time (highlighting any binaries) or 1 demographic/issue at a time.
You should see links with your AS exam TV Drama Q, which also requires you to discuss issues raised through media language choices.
Basic judgements to make: stereo/arche/countertype; normative/counter-hegemonic - or a mix (which might fit with narrative theories, eg Campbell's monomyth, Todorov's new equilibrium) - and WHY you did this, linked directly to audience/s targeted. U+G is an obvious theory to use - there are many more below and in Q1b exam pack.
What social groups? 2 basics: gender, age (teen, tween etc). Sexuality. Ethnicity. Nationality/regionality. Rural/urban/metropolitan. Social class and status (ABC1CDE). Religion/spirituality. Dis/ability.
What issues? Sexuality and gender are likely to be foremost: hetero-normative? Queering? (Fe)male gaze? Performativity of gender? The obvious 'ism' is (post-)feminism, but capitalism/consumerism and postmodernism (challenges to perceptions of an observable reality, meta-narratives; deconstructionism; simulacra) also. Look back at the in-depth case studies of Breaking Bad and other TV Drama clips for more inspiration.

Work through the embedded PowerPoint below for a range of suggested theories and terms

DB adapted representation theories from DB3igs

THE STUART HALL ISSUE:
How YOU planned to represent and have audiences respond to people and places in your video etc is not necessarily how they did - it would be useful to include some audience feedback and reflection on this. Where was there polysemy that enabled some audience members (perhaps of certain demographics: gender? age? nationality?) to give a negotiated or even oppositional reading?

REPRESENTATION OF WHO OR WHAT? + AUDIENCE ISSUES
You can approach this question in two fundamental ways: tackling one category of representation at a time OR separately analysing each character and place in turn. Representation is also a major issue for audience (eg U+G).

CIE Eval Q4 Technologies

you can find more on the Evaluation overall in this hub post.

CIE Q4
HOW DID YOU INTEGRATE TECHNOLOGIES - SOFTWARE, HARDWARE AND ONLINE - IN THIS PROJECT?

***You MUST analyse your technology use in the Evaluation, including this question, in your answer!!!***

****You also MUST consider how you INTEGRATED technologies - combined and used these for multiple purposes (eg editing and YouTube for R+P and Evaluation, not just for the final music video/digipak/website)**** 

Consider how YOUR DESIGN/PRODUCTION COMPANY might benefit from or be penalised by digitisation - apply your exam-centred work, all that instiutional knowledge on how the highly converged, digitally disrupted music industry works...

Two posts closely linked to the DISTRIBUTION question/issue are also useful for this: a very detailed list of digitisation/industry issues; and a more specific consideration of distribution. 

                                           A useful gif.

CIE Evaluation overview

CIE NOTE: This is formally named the CREATIVE CRITICAL REFLECTION

THE CIAE BRIEF: music promotion package A promotion package for the release of an album, to include a music video (major task), together with a website for the band and a digipak for the album’s release (minor tasks).

You are marked not just on answering the question, but also for:

• creativity in how you do so
• using critical theory and self-critiquing [exam q1a/1b!!!]
• use of technology to do so

In practice, you should take 1 of 2 approaches:

1. Create one SUBSTANTIAL creative text for each answer, AND/OR...
2. Recycle a format or spread it across multiple Qs so you've got multiple creative approaches for each Q. It makes sense if you've spent any time on creating a set!

These often won't be ideal for actually answering the question, so make sure you fill in any gaps with some combination of well-illustrated:

• PowerPoint/Prezi
• blog post content
• video/vodcast

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This is a 'hub' post for BOTH the CIE version of the A2 Media Evaluation AND the UK (OCR) spec on which it's based.  Use the hyperlinks below to find specific posts/guides on the 4 CIE/ OCR questions. See here for CIE blog guide.

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IN THIS POST:

• The 4 CIE A2 Evaluation ('creative critical reflection') questions
• The UK/CIE Evaluations compared
• Your final post order
• How to present your answers
• Technologies to consider
• How to be creative
• 24-page coursework overview

THE FOUR CIE A2 EVALUATION QUESTIONS

Theory and music video

There are many posts on this (I'm reviewing tags on an ongoing basis to make this easier to find), but just spotted a useful weebly post from another centre, highlighting a range of theories which can usefully be applied: http://a2cw.weebly.com/theory.html.

A great resource for Evaluation work and exam prep
Example: 

DIGIPAK video resources: company guides, fan vids, tutorials, Evaluations...

IN THIS POST: Gaga and other fanatics' vids on their digipaks; commercial demos of what a digipak looks like and multi-panel options; examples of student Evaluation vids going through the steps of creating their digipaks; Adobe Photoshop and After Effects tutorials. First up, a vodcast featuring elements of these. See also: this post gathers together past posts/links.

DB VODCAST



FANatics' DIGIPAK WORSHIPPING
Having just finished a vodcast on magazine ads for digipaks, I was having a quick look at what's on YouTube on the topic of digipaks ... and came across this, part of the phenomenon of UGC that Lady Gaga has masterfully exploited/encouraged, a rather worshipful rundown of a Gaga digipak - even the comments below largely reflect this serious, dedicated tone. To me, quite bizarre, to the 'Little Monsters' a nice expression of their community identity - but overall no odder than the YouTube-leading content of gamers' musings.


Its not just LG fans that engage in this; this chap, a metalhead, has a few smackdowns he wants to lay down on digipaks (with some strong language) ... and he's not the only one! (Good call on Nuclear Assault's Survive, 'DissonantReviews', classic!)



COMMERCIAL DEMOS OF DIGIPAK OPTIONS
Here's a simple 37-sec demo of a 6-panel digipak:

Misc Post guidelines (use with checklist)

These are arranged in the order they come in on the coursework checklist. Most of these are fairly self-evident, but this should ensure you can always quickly figure out what you should be blogging on

MY CONSUMPTION OF MUSIC VIDS: How do you access music vids (what media techologies do you use)? Has this changed much over the years (do you view more or fewer now than you did, say, 5 years ago?)? Do you download vids, watch on YT, MTV/VH1 etc, specialist chart shows ... Do you view on desktop/laptops, smartphones, tablets; when out and about; with friends or other social settings; do you share vids you like on FB and suchlike? Are you a heavy or light conumer of m.vids? Would you say at the outset of your A2 cwk you are knowledgeable about m.vids?

APPLYING ASSESSMENT CRITERIA TO 2011 VID; APPLYING ASSESSMENT CRITERIA TO 2011 VID: Quote from the assessment criteria (ideally, copy in each one) and discuss what mark you'd give and why (the important bit! needs specific details). An opportunity to embed knowledge of the assessment criteria + a chance to pick up tips on things to do or avoid.

OUR PRODUCTION CO: Whats the name (why?! what are the semiotics?). What's the logo? What sort of work do you think you'd realistically attract, or focus your marketing on (niche genres or all comers?)? Have you researched any existing music vid (etc) producers to get an idea of rates they charge, how they market themselves and their services?

[ARTIST] HISTORY + AUD (and other [ARTIST]-centred posts): You need to show you've thoroughly researched and understood the artist whose material you're using ... and whose image (brand, if you like) you can benefit or damage by your production decisions and outcomes. Knowing who the audience is/was is obviously key, but so researching + being able to reference EXISTING VIDS by the artist, their profile in 201x (ie now), their ONLINE/CULTURAL FOOTPRINT (looking at fanclubs, forums, official sites, FB presence, google results/rankings. YT channel, vid viewings, etc; recent appearances on ads, TV - espec shows like X Factor - mags [think carefully about aud of the mags, can be v, v useful for evidencing primary or secondary aud appeal of the artist - the Girls Aloud eg from 2012 is a great example of this working, with GA appearing in Q and suchlike as well as girls and gossip mags]

[TRACK] LYRICS + BACKSTORY; TIMED LYRIC SHEET; RECORD LABEL; ORIG VID; 2ND LIFE: CYBERSPACE IMPACT: Just as you need to be secure in your knowledge + understanding of the artist so you need to be well aware of what the track is about - regardless of your idea + whether its narrative-based or not. Obviously right from the start you need to break down the track with timings, so when you're discussing how to map footage you're considering onto the track you can do so in an informed and meaningful fashion. You should frequently write notes over copies of this timed sheet and scan in or photograph then upload to blog. The '2nd life' refers to cover versions and other cultural artefacts its inspired online or offline (from Simpsons skits to YT vids - be comprehensive on YT vids). You could explore the term meme here, which I've blogged on with reference to Lady Gaga and Bad Romance before. You are required to evidence having contacted the rights holder with a request to use the track, so you need to identify the record label - as you're probably releasing a compilation album, that might be multiple record labels for the digipak details. Some artists have bought back the rights to their back catalogue, or moved to smaller, Indie labels. How is your track distinct from the original vid; are there any links?

A BRIEF HISTORY OF M.VID: The book Money For Nothing is great for this, and the Wiki is prettty good in this case too. You don't need an essay, just a flavour of key dates and changes, videos over time, especially how technology has changed.

RELATIONSHIP OF [ARTIST] TO GENRE: Is your artist an archetype (early, influential example) of the genre; someone who has copied others, or someone who is a bit of a maverick? Discuss their place within your genre, their level of commercial success, hits/radio play (or lack of), tracks/albums that had major impact etc. Can you find relevant quotes by other genre acts?

CURRENT STATUS OF MUSIC VIDS: This could go in much earlier: are vids still relevant in a mobile, digital world (even MTV shows few vids)? Are they now actually more relevant? Discuss here whether vids continue to have cultural impact and commercial clout (I'd say they do on both counts: we've all heard of Gangnam Style after all).

Does Eval have to be all vids?/R+P points

final additional word on this, April 14th:
look closely at the actual assessment criteria, and my comments on each of these. whatever mark I give I have to justify with reference to EVERY assessment criteria. As I state below, the lack of explicit research into audience (TgtAud) (suitability of your presumed core audience especially) is evident, so create some short filmed evidence NOW. This is also an easy topic (along with genre) for drawing in and applying theories which will help with exam Q1b work - and marks for Communication skills. On organisation, far too often there's nothing more than 'they/it were convenient'; no attempt to tie to conventions or aud expectations, or evidence your creative input/manipulation of resources. most of you generally fail to refer back to your research into SimProds when posting on ideas/planning/RCuts/feedback, rendering it artificial, and making it hard to say your work is excellent because its not applied. far too few quality summaries of (1) format (2) genre conventions with specific egs for each point. Lot of great posts on individual vids BUT lacks explicit reflection: end such posts with 1 or points (with diff font etc) on 'potential influence/s on my ideas/work', something on those lines (and maybe 'key conventions in this vid'). lot of good drafting but lack of call sheets/shot lists + detailed storyboards also losing marks. Time management needs clear evidence of schedule, and re-thinking schedule when events cause issues - for this, and basically every major point, a summary post reflecting on how you've done/handled certain aspects, will help your cause (+ is basically Eval drafting!). You need to make sure post dates relfect any points you make on this. Level of care in presentation needs user-friendly post titles; good post layout (using font/colour/size etc to differentiate quotes/sub-headings etc); extensive + consistent illustrations to support points made, including captions for pics; NO posts to be without some text to provide context/discussion/reflection; equally never discuss a draft/RCut without embedding or hyperlinking it; generally use words for hyperlinks; make sure company blog is presented as such. Links lists help here, ditto logical post order. Obvious lack of basic proofreading means many of you copy/paste others' posts + don't bother to change font col/size where needed. Lots of random/excessive blank space. UseICT means multimedia. Links lists + gadgets. Pod/vodcasts. Use of FB/Twitter/YouTube. Captioned pics. Frequent hyperlinks within posts (including often - espec in any summary posts - 'find out more'/'further reading' links [rem, u can copy/paste your own links lists]). BUT for exc, it means some more sophisticated use of video especially: vodcasts where you've edited in pics/clips, used titles etc. If you've used a QR code, put that up in your gadgets. ----- Much of this links very naturally into your Evals, as I've stressed all year.

SEE ALSO: 

http://musividz.blogspot.com/2012/04/blog-gadgetslayout.html + http://musividz.blogspot.com/2012/04/company-blogs.html

Couple of you have emailed asking if every Eval post has to be vid only.
Simple answer is no - and use the guide posts on this blog!!!

An e.g. of a copied post with colour fill - unreadable.
Note I haven't plonked this pic at bottom of post...
and so haven't created needless blank space.

There should be some unique vid content for each post, but there's also podcast, text with multimedia, YouTube annotations, Prezis, even embedded Word docs where you put an image (say ad, or vid shot...) central to a page and use arrows/text boxes to provide analysis. You'll find egs of most of these linked through the blog posts (past students' answers).
Few of you have really used video well/frequently for audience feedback, something that seems to have gotten lost from last year - you can/should still do this (e.g. for feedback on how well package works together). Camera quality is irrelevant, just so long as you can upload/edit at home and/or F6 (.mp4 files are generally what you want for iMovie/Final Cut). If you have your own Mac you can get a free 30-day trial of Final Cut Pro X. If its a PC you can find other trial software to do simple editing.
And do try to have 1 or more vid thats a little bit ... quirky!

I've updated Q4 guide again this morning; as I'm getting through feedback on all cwk I keep tweaking these to reflect points I'm making on individual blogs.
Just starting on R+Ps, but its already clear the issues are the same ones I've been highlighting for many months:

• lack of credible, detailed summaries of (1) format + (2) genre conventions (for each of the 3 text types)
• you're not referring back to all this research/learning when posting about ideas, planning, r.cuts, feedback etc - which suggests you didn't actually learn anything. simple lesson: use the points raised in these posts; recycle the screenshots your earlier posts should be stacked with (and you need for Eval Qs)
• Take a little time to re-read these sample analyses posts; end each post with a little on how you might be influenced (use a sub-heading at the bottom of any such post: POSSIBLE INFLUENCES/LESSONS LEARNT [so also key points the vid teaches you about conventions]) - even if its how not to do something, or a style of representation you're opposed to
• insufficient consideration of target audienceS, and lack of reference to this in posts on planning/filming/rough cuts etc (same with lack of references to your research in these posts: your Q1 discussion on conventions are made insincere without this)
• lack of screenshots/vids of work done generally: vids embedded but points made about aspects of individual vids NOT supported with specific illustrations; edits discussed but no screenshots of how  changes made or before/after clips; YouTube annotation tool not being used; audience feedback not evidenced thru vids - and this includes initial research into appropriateness of stated target aud: look at the egs I've linked from last year/my guide posts for ideas (Kyle does well here: look at how his posts [eg: on Shakira vid] give captioned SSs and timings which will enable further SSs to be easily accessed)

what have you done to get marks for 'organisation of actors, locations, costumes, props'? Think through what evidence you have/can add; create a links list when done improving/adding on this – remember, you can still do simple vodcasts (inserted into past posts/appropriate dates) with phone camera or whatever just so long as you can upload/edit it. Is there video of you discussing costume, including points on audience (gaze?) + vids you've analysed/conventions? If talking about locations, do you explicitly refer to conventions/examples? Have you evidenced your directing cast, or a rehearsal? Could you organise any of this NOW???

• lack of links lists to help an examiner see immediately what work has been done relevant to each assessment criteria (don't be crude and quote the wording of these, but make it easy to see what its linking to)
• lots of posts with unhelpful or misleading titles
• lots of posts with vids/pics but no text - you always need to give some context/detail/reflection
• obvious lack of simple proofreading: orphaned pics, extraneous blank space, broken links etc
• quotations not clearly distinguished by indenting/changing font; actual source often not given ('Wiki' is NOT a precise source: must be actual URL, or book reference). follow the style I use
• company blogs not used to any great extent; copying someone else's post and ignoring the font colouring being wrong for your blog, or ignoring background fill colours which there's almost zero good reason to ever use on a blog
• post dates not weaker to create logical flow - there are often posts done at a late stage which should replace earlier, poor posts but these haven't been edited
• there's even quite a few blogs where there's been seemingly random sharing of some but not all posts
• Posts on directors are only useful if you directly comment – we hear YOUR voice/opinion. Need some evidence you actually looked at some vids by that dir (even if just brief points!) AND final comments on what influences/lessons YOU might take from this dir (just as with posts on examples)
• This is a key point in general: try to keep expressing YOUR views, YOUR voice; how texts/directors/aspects (eg rep’n of women) you’ve looked at might influence your work – what you dis/like from what you’ve seen
• CHECK BLOG IS SET TO VIEW AT LEAST 20 POSTS – I/EXAMINER WANT TO BE ABLE TO CLICK ON A MONTH + SEE MOST OF THOSE POSTS

**Eval Q guides updated**

[much more added on Q2 + Q4, plus some to Q3 April 9th]
I've updated all 4 Eval Q guides today with links to/comments on past answers, and will add more as I continue to go through marking with any points that emerge. There is effectively a new guide for Q3

Eval Q1 Use of conventions

Also see Chief Examiner's guide 

This question provides an easy opportunity to elevate the level of your response using theories you'll need to engage with for exam Q1a/1b; have you thought of how you can discuss genre theories here for example?

Take a moment to consider carefully the question, and the very specific terms selected:

Q1: In what ways does your media product use, develop or challenge forms and conventions of real media products?

• it's identical to a Q you answered for AS cwk!
• you will need to make detailed comparisons between each of your productions and existing vids, digipaks, ads (and any TV shows etc you've also referenced as influences)
• BUT its not just how you've reflected these conventions; you may have chosen to change, undermine, flip round some of these (perhaps countertypes in place of stereotypes for example) ... maybe even seek to take an established genre in a new direction
• the word 'rules' is NOT used. 'Conventions' means commonly occurring; frequently seen - elements which when combined help an audience to identify the genre or type of media text. Many books + articles will discuss 'rules' of a genre; what they really mean is 'conventions' - if a genre stays completely rigid it will be doomed
• [UPDATE, 2015] I suggest a 6-step structure below, but if you feel it will save time, you could simplify this by outlining format (basic conventions of music video; look at exam Q1b guide on Media Language, eg Goodwin v Vernallis) and genre conventions, discussing as you go how yours matches up or doesn't. Intertextuality is important too ... and that is a common element of music video media language.
• This is the most semiotics-based of the four questions.

So, this Q boils down to:

Posts on vid M.LANG (Q1)

I've mostly skipped out posts on digipak/mag ad, which are listed in a separate post

ONLY INCLUDES POSTS UP TO THE START OF FEB 2012 

http://musividz.blogspot.com/2012/02/narrative-in-mvids-filmsoundorg-guide.html
http://musividz.blogspot.com/2012/02/one-shot-vids.html
http://musividz.blogspot.com/2012/02/spoof-boyband-video.html 
http://musividz.blogspot.com/2012/02/using-stills-to-rescue-footage.html 
http://musividz.blogspot.com/2012/02/photoshop-andy-warhol-effect.html 

Eval Q2 how effective is combo of texts

Q2: How effective is the combination of your main product and ancillary texts?

A STREAMLINED WAY TO ANSWER THIS Q
See below for more detailed notes, but this structure might help save you considerable time, and could make for a better, more coherent response overall.

1. VIDEO PART 1: Discuss/critique the question: would such texts be tightly integrated? Make brief comparison with some examples - you won't struggle to find examples from your own artist with very limited linkage
2. Print off your print texts (and/or have open on multiple tabs/screens). Slowly work through your video, pausing to take screenshots/make notes where you see a link to print texts, BUT ALSO making some notes on points of difference too. Writing on print-offs should help with the next step.
3. Separately compare your print texts noting key links and some differences
4. Go through your notes. Do you see points/themes emerging? Can you tie any of these to specific theories, eg intertextuality (Kristeva, postmodernism)?
5. VIDEO PART 2: If so, use these as 'chapter titles' and discuss all three texts at once. Otherwise, structure by focussing on your digipak first, then your mag ads
6. VIDEO PART 3: SUMMARY A brief review of key points and reflection on how tightly or loosely yours tie together. It would be especially useful here to include some thoughts on changes you could make if doing this again.

SOME PAST STUDENTS' ANSWERS:

2014 FAITHLESS + ATOMIC KITTEN ANSWERS
The same issues as with Q1/3/4: a shared script (which, if presented without clear sub-headings and imagery does not help marks on presentation) which is sometimes recorded in a very poor manner, and the imagery not always as closely reflecting the point being made as it should. The use of titles is helpful, and the analysis generally good though.

EMMIE: The one weak answer from Emmie; this would really benefit from a video and a greater degree of depth. It appears long as a post, but there is a lack of detail overall.
BETH: A single vid, with an existing vid referenced in this embedded below. Rather rushes through a script, which undermines the impact (assessment criteria: ability to communicate), but the content is good. Specific egs throughout, and very, very good at getting into how the industry works - drawing on and suitably illustrating concepts such as digitisation and convergence when doing so.
EMMA: The Eval Qs are a little hard to find: the post dates do need to be tweaked to ensure they come immediately (and in order) the final cuts, plus 'Eval Q2' as a post title isn't helpful. This is an interesting answer for 2 reasons: (1) starts with excellent industry context (specific examples of companies that work in this field - and what they charge [easy to get via websites or ringing and asking - as a band! - for a rough quote) and (2) starts out by rejecting the need to combine too explicitly the 3 texts designs. The vid goes on to detail the conceptual and narrative links from vid to the ancillaries (cartoon style, party/rave scene).

Neat, simple way of showcasing the links: edit 1 image of all 3 together

JONNY: Again, vid done as a group meant there was a real risk of exam board marking this Eval down to 0/20 - don't repeat this mistake! Responses to this Q are often rather dull - this is an exception, and it helps secure high marks if a sense of passion comes across, as it does here. The combined image Jonny provided quite neatly illustrated the visual link between the texts, and is a good idea to utilise! The vid uses the physical products to back up points made: quick, simple yet effective (just not for every Q!). Skip to 3:30 in and note the neat trick of discussing fonts used and then saying to camera "and you should be able to see this font on screen NOW!" With a little forethought its a neat idea to talk about things you know you'll edit in later! The written text below was excellent, with many hyperlinks, relevant sources quoted, and well laid out - but easy to do, because it came from posts within the R+P, simply rewritten/paraphrased for the Eval.
CHRIS: Simply too brief in this case.


This is a suggested approach to tackling this question.
Break down the varying tasks, which might include:

1. critiquing the question!
2. detailing your target audience
3. (this links back to audience) where might each text be distributed/exhibited
4. break down (denotation of) key elements of each of the 3 texts in turn
5. in what ways are the 3 products linked
6. in what ways are they differentiated
7. evidence + reflect on some AF on all 3 as a package
8. is there anything you would alter given more time/resources
9. IF brief was different...

Remember, you need to incorporate some new video material with each Eval Q, and widely employ images, hyperlinks, basic design elements, and perhaps selective podcasting too.

You can share research within a group, but must produce individual responses.

You can share video, but make it unique by using the YouTube annotation tool to add individual evaluative comments, links etc.

Below you'll find detail on the 9 points listed above; these overlap, and are just a suggestion; combine these as you see fit.
 

INTRO (1): DISCUSS/CRITIQUE THE QUESTION

Re-read and quote the brief, paying particular heed to the alliterative

Posts on COMBO/PACKAGE (Q2)

I've mostly skipped out posts on digipak/mag ad, which are listed in a separate post

ONLY INCLUDES POSTS UP TO THE START OF FEB 2012

http://musividz.blogspot.com/2012/02/new-media-band-blogs.html - Using blogs to reach fans, but also an extension of your package?
http://musividz.blogspot.com/2012/02/fundraising-online-old-man-cabbage-eg.html
http://musividz.blogspot.com/2012/01/marketing-use-dates-to-create-special.html

Eval Q3 Learning on aud feedback

Q3: What have you learned from your audience feedback?

KEY POINTS: 
As always, there is overlap with other Qs, but especially with Q4 on new media technologies.

• Kick off with a thorough summary of the work you've done on audience, making clear your primary and secondary audiences and what research you did on this. Using links to blog posts or screen shots of these is no bad thing.
• This is a useful Q for exam prep: audience and web 2.0 theories (which often look at the changing status of audience/producers) should be applied and explored prominently. Postmodernism, especially intertextuality, could be useful too (and many more!)
• Don't feel you have to venerate audience feedback;  limitations of new media (source of much of your feedback) also have theory you can explore: Andrew Keen sees this as a disaster for society; John McMuria argues the supposed level playing field for Indies is a myth and conglomerates still dominate; Elberse has demolished Anderson's long tail theory
• As with ANY Q, also feel free to state "I cover this topic in more detail in Qx"
• Footage of aud feedback is important
• As is your actual response - going through changes made as a result (and examples of feedback you rejected, explaining why)
• You needn't be comprehensive to the nth degree on detailing feedback received. If you feel you can reduce that to key themes or issues, do that ...
• But make sure you illustrate as much as possible the material that was/n't changed as a result of feedback
• Sum up - just how central (or not) was audience feedback? You could usefully consider material on the exam 1a topic of creativity here: is this compatible with an auteur approach? Can you crowdsource your vision? You could compare the impact or influence of feedback to that of research into conventions and consequent intertextualities, and discuss how available software/hardware made feedback im/practical.