Fiction Adaptation - Pre-production Paperwork

Pre-Production Paperwork

With this being a highly independent project, I took on the roles of Producer, Director, Editor, and Covid-19 Supervisor. 

Initially, I wanted to shoot myself but after some thought, I realised that this would be harder to achieve and not necessarily fitting of the unit descriptor in the Fiction adaptation handbook, which states that “All cast… to be sourced outside of the course” (Rymer, 2021). With this in mind, I used social media to conduct a casting call as well as asking for crew who would be willing to help out. I got multiple responses and was able to find my cast and crew as a result of this.

As I want the short-film to be based on a true experience that had happened to me when I was 19, I wanted to find an actor who was of a similar age to that. Out of the people that responded, I felt that Charlotte Sparkes (she/her) was a good fit for the role. She fitted into the age bracket that I was after and has previous acting experience. In order to be able to use the footage of Charlotte for my short film, I had to get her to sign a consent form.

Figure.1 Charlotte Sparkes’ Mandy Profile (2021)

With regards to the crew, it didn’t matter how experienced they were, as long as they could get stuck in. However, I wanted to ensure that my crew was made up of at least one woman aside from myself as in the film industry, men outnumber women one to four in key roles (Wheeler, 2020). Out of those who responded, I selected Gabriella Niles-Ewen and Sophie Parker, who are both currently studying film studies degrees. They both took on the roles of co-directors and camera operators. Through having extra crew, particularly crew who study film, it will be useful in gathering different perspectives and is a chance to collaborate with others outside of the course. 

Before the cast and crew agreed to be involved in the short film, I asked them whether they were comfortable being involved, considering the sensitive nature of the topic. They all agreed that they were okay to take part. 

I set up various meetings with the cast and crew to discuss the project. Prior to these meetings I sent them a powerpoint presentation I had made in order to give them an idea of what I was wanting to achieve. Within these meetings, we discussed what it was I wanted from them 

Through conducting these meetings, I learnt a bit more about how an actor works. Charlotte asked me various questions such as, what is the emotion I want the character to portray. Through being asked these questions, I learnt how some actors get a feel of their character, I also learnt that there are many questions an actor poses in terms of the meaning of/behind their character (Cannon and Gardner, 2009). I allowed the cast and crew to ask any questions they had and emphasised that they could ask questions and make suggestions throughout the whole process, from the pre-production process right through to the post-production phase.

In terms of costume, I wanted to ensure that Charlotte was comfortable throughout, particularly with the nature of the film. For the bedroom scene, I asked if she could wear something that she’d wear to bed (e.g. pyjamas). For the everyday scenes, I asked Charlotte if she could wear something she’d usually wear. As the character is of a similar age to Charlotte, I felt that the clothes that Charlotte usually wears in her day-to-day life would be fine as a costume. Finally, for the bathroom scene, I asked Charlotte to wear a preferably strapless swimsuit. Before I asked her to wear a swimsuit, I checked with her to see whether she was okay with this, which she was. 

It is important to feed your cast and crew, especially when they’re working for free (Sengstaken, 2021) so, prior to filming, I asked the cast and crew whether they had any dietary requirements and any preferences for food. From doing this, I learnt how to organise food for cast and crew. With covid in mind, I planned the food around that, ensuring that I had individually packaged food, so that contamination was avoided as much as possible.

To ensure that the days we were shooting ran smoothly, I created and provided everyone with a  call sheet: https://docs.google.com/document/d/1xh0F_WKzJ-g7l6n9hnyvtoJzQmA1Zqyn5cb6gkB2ZWM/edit (Potter, 2021). When creating this call sheet, I based it on the one that was provided on a shoot that I worked on a few weeks prior. A call sheet will enable the day to run more smoothly and allows for the cast and crew to know when they’re needed on set (Maio, 2019). 

Figure. 2 Call Sheet for Fiction Adaptation (2021)

As Producer, I selected the locations for the shoot and completed risk assessments for each location. I selected the locations based off of the research I did and the type of shots I wanted. The locations that I have chosen are as follows: a bedroom in my house, a bathroom in my house, Tooting Bec Common, Earl’s Court Station, Westminster Bridge, and Vauxhall Bridge. For me the most important locations to film at for my film were the bedroom, the bathroom, the street, and Tooting Bec Common as I felt that I could link them together more easily and gather more footage from. I’m not entirely sure how the whole project is going to piece together until I am able to experiment in the editing process, so have chosen some back-up locations just in case. 

Figure. 3 Possible Location Ideas for Fiction Adaptation (2021)

Links to the Risk Assessments:

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/EZ_2XRRICTFIgFSrrMmn_UMBRL9dtADZ-uONtdHwQBulpQ?e=G025Oh

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/EW1I-ot_Q9pHoY0YynGfwyUBnZnDoiiHGHmu07rJQWiffQ?e=Ml6t4r

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/ER-sDdzk3UtGh8kgtc05hf4B6ibgku-Yv1UXNj6cBE5SCA?e=8KHj0k

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/Ef-JAARxyL5GrAGPRqrazQEBAMYkeTusoynpw-jhlGEZQg?e=gNMQtl

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/EdkTyj6oPE1NsDyUGO7raFEBB700VnIH1jZX7sg_E0Vlwg?e=Fl7EdU

https://ucreative-my.sharepoint.com/:w:/g/personal/1903408_students_ucreative_ac_uk/EXrZFMctQjFAsJ53IahlhKwBwuX62nOavGQdF4KSscymQg?e=74NDa0

When it came to booking equipment, I had to make sure that all of my risk assessments were signed off by Laura Coull (Production Coordinator) before I could book kit out. I wanted to use a DSLR to film on as it is easier to transport and maneuver than a Panasonic AG DVX200. I spoke to Sam Creamer (lecturer and technical tutor) to ensure that I got the right equipment and then booked it out. As I wanted high contrast lighting, Sam and I agreed that the tungsten lights would be best suited. As my shoot is going to be handheld, I decided that a fig rig would be best; however, as the fig rig wasn’t available, I opted for the shoulder rig instead, which will still enable me to get the handheld shots I want. As this unit is experimental, I also booked out a few different lenses to try out. 

Figure. 4 Lens Booking

Bibliography:

Cannon, D. and Gardner, L. (2009) ‘Character building and what makes a truly great actor’ In: The Guardian 09/05/2009. At: https://www.theguardian.com/stage/2009/may/09/character-building-great-actor (Accessed 04/12/2021)

Fig. 1 (2021) Charlotte Sparkes’ Mandy Profile (2021) [Mandy, Screenshot] At: https://www.mandy.com/uk/actor/charlotte-sparkes-1 (Accessed 04/12/2021)

Fig. 2 (2021) Call Sheet for Fiction Adaptation (2021) [Google Slides, Screenshot] At:https://docs.google.com/document/d/1xh0F_WKzJ-g7l6n9hnyvtoJzQmA1Zqyn5cb6gkB2ZWM/edit (Accessed 04/12/2021)

Fig. 3 (2021) Possible Location Ideas for Fiction Adaptation (2021) [Google Slides, Screenshot] At: https://docs.google.com/presentation/d/1ufoJgmnFIgebGFKVmYcPERnKtRNsCW3_Nwdirq0NJJM/edit#slide=id.gfbfcd89b35_0_103 (Accessed 04/12/2021)

Fig. 4 (2021) Lens Booking (2021) [Siso, Screenshot] At: https://ucreative.siso.co/roc/ui/my-bookings.php (Accessed 04/12/2021)

Maio, A. (2019) What is a Call Sheet? The Essentials for a Smooth Production. At: https://www.studiobinder.com/blog/what-is-a-call-sheet/ (Accessed 04/12/2021)

Potter, E. (2021) Fiction Adaptation Call Sheet. At: https://docs.google.com/document/d/1xh0F_WKzJ-g7l6n9hnyvtoJzQmA1Zqyn5cb6gkB2ZWM/edit (Accessed 04/12/2021)

Rymer, M. (2021) Fiction Adaptation Handbook. (1st ed.) Kent: University for the Creative Arts. At: https://myuca.uca.ac.uk/webapps/blackboard/content/listContent.jsp?course_id=_71100_1&content_id=_1142002_1&mode=reset (Accessed 04/12/2021)

Sengstaken, K. (2021) Fiction Adaptation Lecture Series. [Kent: University for the Creative Arts 26/11/2021]. 

Wheeler, A. (2020) ‘More women than ever working in film - but men still dominate key roles’ In: The Guardian 02/01/2021. At: https://www.theguardian.com/film/2020/jan/02/women-film-industry-hollywood-2019 (Accessed 04/12/2021)

Fiction Adaptation - Workshops

Haiku Workshop

https://youtu.be/f9Hg2Nsgs9I

In order to gain a better understanding of how a poem could be adapted for the screen, we looked at haikus, which are poems that usually follow the pattern of 5-7-5 syllables (Henderson, 1965).

The Haiku I selected out of the ones provided was “Everything I touch” (Issa, s.d cited in Sengstaken, 2021). In my opinion, I believe that this Haiku is about someone experiencing heartbreak, which seems to be a recurring problem for them and they feel as though they are at fault (“Everything I touch…pricks like a bramble”). They have so much love to give, yet it isn’t always reciprocated or gone about in the right way, leaving them heartbroken. I chose to adapt this Haiku onto the screen as I felt that I could do more with this haiku than the other haikus. 

I created a story about a heartbroken woman who feels alone and lost in the world after her heartbreak, but is reflecting upon it and slowly becoming a new version of herself.  

When editing this project, I gathered stock footage and royalty free audio clips from the internet, which I then edited together to create a story that I felt expressed the meaning of this haiku. I chose a mixture of more abstract video clips and naturalistic video clips as I wanted to play around and see how using different types of video could work for my project within the fiction adaptation unit. I selected footage that I felt I could create a narrative with and pieced it together. As I envisioned the woman feeling a sense of heartbreak and loneliness, I placed clips where there was background space and they weren’t as full as the first few pieces of footage. This space creates a sense of being alone, feeling lost in this world, as though the world is empty. 

Within the edit, I envisioned the burning rose from a piece of stock footage, on screen whilst the camera zoomed/moved further away from the rose (the subject). I chose a clip of a rose burning because a rose is often used, particularly by poets, as a symbol of love ( In order to achieve this, I asked a peer to show me how to do it. Due to the scale of the video being too small despite rescaling it, and time limitations, I was only able to zoom out by a small amount. With more time, I would extend the zoom and make it smoother. 

Through participating in this workshop, I learnt how a poem could be adapted into an on-screen visual form. I enjoyed this workshop as I felt as though I could be more experimental than in previous projects through creating a narrative using different clips and a piece of music as the only audio.  If I had more time with this workshop, I would attempt to colour correct the footage so that the colour is consistent throughout. Overall, I was happy with what I achieved within the time given. 

Camera Workshop

https://youtu.be/U9AukkMQEoc

Within the camera workshop, we looked at camera shots and angles. When shooting anything, there should be a motivation behind it, thinking about why you chose that shot and what meaning does it portray. There is always a narrative within a story, however poems are often more open to interpretation therefore, poems can often have multiple meanings and interpretations to them. 

Within this workshop, it was primarily focused on camera angles and different camera shots. We looked at the meaning behind each shot in relation to the viewer. 

In addition to this, we looked at camera movement. One of the things that I learnt was that the use of a tracking and/or dolly shot can accentuate the depth by causing objects to move in relative distance to the camera (Creamer, 2021). 

For one of the shots, I suggested that we use the spider dolly to create a shot of the male subject (George Walters) making it seem that the world was spinning around him and as though we were entering the memories circling within his head. To achieve this, we moved the spider dolly, with the camera on it, in a circle around the subject. By doing this, I then came up with the idea of layering the memories on top of the spinning shot of the male character, creating a montage and giving the viewer an insight into the memories he was thinking about. These memories told a story about the abusive relationship he had with his partner that ended up with him murdering her. The method of montage that I used was tonal as I layered the clips to infer the story of the couple and what happened to them and to create a sense of nostalgia and sadness as the male character is looking back on the events of his relationship and the result of his actions. In addition to this, there is an element of a rhythmic montage as I tried to match up what was happening on  screen with the lyrics of the song (Matrix Education, 2021). 

An issue that we had when using the spider dolly was the surface that we were using it on. The carpet within the building meant that the spider dolly struggled to move smoothly. In order to try and combat this, we had another person helping to push the spider dolly whilst the camera operator operated the camera. When using a spider dolly in the future, I will remember that the floor surface the dolly is being used on is of great importance, particularly in ensuring the stability of the camera shot. 

Figure. 1 Diagram of the spider dolly movement and set up

During the whole process of this project, I will try and aim to think about the camera angles I incorporate into the film and think about the meaning behind them. 

Lighting Workshop

This workshop introduced us to lighting, with an emphasis on experimental lighting. I learnt the terms naturalism (lighting that often tries to use the light around you to create the effect of real light within the shot) and pictorialism (the manipulation of light using mostly non-naturalistic light sources) (Creamer, 2021). 

When partaking in this workshop, we used the naturalistic lighting from the windows and a combination of the natural lighting from the windows and lighting from the led panels when shooting further away from the windows. As we were shooting in front of a window, we noticed that there was a flare on the lens of the camera. In order to try and overcome this problem, we used a piece of polyboard to shade the lens so that the lens flare was avoided. When editing the footage, I noticed that there was still some flare from the lens within the shots by the window. In order to combat this in the future, we will think about how to try and avoid this, possibly shooting at another angle nearby the window. In addition to the polyboard, we also used a gold reflector to reflect some more light onto the subjects, creating a more golden, nostalgic look. 

When shooting away from the window, we used LED light panels as well as the natural light from the window to light the subjects up. 

Figure. 2 Diagram of the set-up for the shot of the actors by the window

Figure. 3 Diagram of the set up for the shot of the actors by the wall

When creating my final project, I will aim to experiment with lighting and think about the meaning behind it. For example, using lighting to create varying levels of contrast and invoke emotions from the viewer. 

Bibliography:

Creamer, S. (2021) Fiction Adaptation Lighting Workshop. [Kent:University for the Creative Arts 18/11/2021].

Didi, L. et al. (2021) ‘The Universality and Variation of Flower Metaphors for Love in English and Chinese Poems’ In: Turkish Journal of Computer and Mathematics Education 12 (9) pp.3359-3368. At: https://www.turcomat.org/index.php/turkbilmat/article/view/5743/4792 (Accessed 25/11/2021)

Fig. 1 Diagram of the spider dolly movement and set up (2021) [Shot Designer, screenshot] (Accessed 04/12/2021)

Fig. 2 Diagram of the set-up for the shot of the actors by the window (2021) [Shot Designer, screenshot] (Accessed 04/12/2021)

Fig. 3 Diagram of the set up for the shot of the actors by the wall (2021) [Shot Designer, screenshot] (Accessed 04/12/2021)

Henderson, H. (1965) Haiku in English. At: https://eric.ed.gov/?id=ED019266 (Accessed 20/11/2021)

Matrix Education (2021) Film Techniques: Montage | How to Analyse Film. At: https://www.matrix.edu.au/film-techniques-montage/ (Accessed 04/12/2021)

Sengstaken, K. (2021) Fiction Adaptation Overview. [Kent: University for the Creative Arts 16/11/2021].

Fiction Adaptation - Sonnets, Decision Making Process, and Poet Research

 Sonnets and Decision Making Process

In order to decide upon the sonnet that I am going to take forward and create visually, I decided to analyse and break down each sonnet. Doing this allowed me to gain a greater understanding of what each sonnet was about. 

I narrowed down the sonnets that I felt spoke to me and then made a final decision from there. The sonnet that I selected was Time does not bring relief (Sonnet II). This sonnet was chosen as I felt I could do the most with regards to this and being able to experiment with it. Using this sonnet, I want to make my adaptation about the impact of sexual assault can have on someone who has experienced it. With violence against women increasingly being a prominent feature within the media, especially since the MeToo movement (Steinberg, 2018), I feel as though it is the right time to make this.

Bibliography:

Steinberg, B. (2018) ‘Media Coverage of Sexual Assault, #MeToo is Rising’ In: Variety 05/10/2018. At: https://variety.com/2018/biz/news/media-coverage-sexual-assault-metoo-1202970077/. (Accessed 25/11/2021)

 Poet Research

With the continuation of gender inequality, particularly in their careers (Atkinson et al., 2020) and the continuing domination in the world of literature by men (Flood, 2013) , I wanted to select a sonnet written by a female, hence the selection of 'Time does not bring relief' (St. Vincent Millay, 1917, cited in Rymer, 2021) by Edna St. Vincent Millay.

Figure. 1 Edna St. Vincent Millay in The Guardian

Edna St. Vincent Millay was an American 19th and 20th Century Poet. Millay won the Pulitzer Prize for her poetry in 1923 (Ong, 2018) and is known for her rebelliousness against the norms and expectations of society. Millay's work was often influenced by her personal life, such as that of her bisexuality, morphine addiction, the loss of her husband, and other goings on in her life (Poetry Foundation, 2021). Due to the topics covered within her work, particularly her work involving feminism and sexuality, Millay was often seen as controversial and it was this controversy that drew people's attention to her work (poets.org, 2021).

Her character and the exploration within her work was another reason behind my choosing of her poem, 'Time does not bring relief' (St. Vincent Millay, 1917, cited in Rymer, 2021)

Bibliography:

Atkinson, C. et al. (2020) 'You Just Had to Get on with it':Exploring the Persistence of Gender Inequality through Women's Career Histories' In: Work, Employment and Society  35 (1) pp.78-96. At: https://journals-sagepub-com.ucreative.idm.oclc.org/doi/full/10.1177/0950017020910354 (Accessed 29/11/2021)

Fig. 1 (2018) Edna St. Vincent Millay in The Guardian. At: https://www.theguardian.com/books/booksblog/2018/feb/22/edna-st-vincent-millay-poetry (Accessed 29/11/2021)

Flood, A. 2013) 'Men still dominate books world, study shows' In: The Guardian 06/03/2013. At: https://www.theguardian.com/books/2013/mar/06/men-dominate-books-world-study-vida (Accessed 29/11/2021)

Ong, A. (2018) 'Edna St. Vincent Millay's poetry has been eclipsed by her personal life - let's change that' In: The Guardian 22/02/2018. At: https://www.theguardian.com/books/booksblog/2018/feb/22/edna-st-vincent-millay-poetry (Accessed 29/11/2021)

Poetry Foundation. (2021) Edna St. Vincent Millay. At: https://www.poetryfoundation.org/poets/edna-st-vincent-millay (Accessed 29/11/2021)

Poets.org. (2021) Edna St. Vincent Millay. At: https://poets.org/poet/edna-st-vincent-millay (Accessed 29/11/2021)

Rymer, M. (2021) Fiction Adaptation Lecture Series. [Kent: University for the Creative Arts 25/10/2021].

TV News Production - Content Research

 Content Research

Throughout the project, I conducted relevant research to our content. It was of utmost importance to ensure that all information used was factually accurate and was of high credibility. I used the UCA library, where all the sources are credible, various news sites like BBC News, Government websites, academic journals etc. to try and ensure credibility of sources. 

With regards to our live OB news item, we used those who had shared their experiences of being spiked to shape our story. The first-hand experience ensured that we were coming at the story from a more sensitive angle, giving a voice to spiking victims, and not telling their story when we hadn’t had first-hand experience of the subject ourselves. 

I collected facts and figures to inform the audience and hit them with key facts. I found statistics relating to the number of spikings in the UK (Robinson, 2019) and put them into the script. I had to work out percentages when using these statistics so that I could put them into a graphic that had greater relevance, in terms of content, to our piece. I also looked at websites that specialise and deal with spiking such as, the NHS website and drinkaware. 

To provide the sustainable fashion news package with some impartialiity, I looked at the websites of popular fashion retailers, Primark and H&M, collecting information on their company policies when it comes to sustainable fashion (Primark, 2021) (H&M, 2021). With our contributor Trent being in the fashion industry, we were able to gather some of his knowledge and insight into sustainable fashion and include this within our news package. 

Bibliography:

Primark. (2021) Primark reinforces its commitment to environmental sustainability. At: https://corporate.primark.com/newsroom/primark-cares/primark-reinforces-its-commitment-to-environmental-sustainability/n/4f0cae86-6bda-438a-bc52-c6b1e1c09df3 (Accessed 01/11/2021)

H&M. (2021) H&M Spring 2021 Drives Innovation in Sustainability Further - With a Fashion Forward Sporty Minimalist 90s Vibe. At: https://about.hm.com/news/general-news-2021/h-m-spring-2021-drives-innovation-in-sustainability-further---wi.html (Accessed 01/11/2021)

Robinson, B. (2019) 'I collapsed in the street after drink spiking' In: BBC News 27/11/2019. At: https://www.bbc.co.uk/news/uk-50508559 (Accessed 01/10/2021)

TV News Production - Website and Social Media Links

 Website and Social Media Links

Click here for our Website: https://19034087.wixsite.com/up2date

Click here for our Instagram: 

https://www.instagram.com/u2d_news/

TV News Production - Green Screen Workshop

 Green Screen Workshop

In the greenscreen workshop, we had George sit down in front of the greenscreen. The lighting used to light the greenscreen and George were LED light panels. When setting up, we discovered that George’s glasses were an issue as the reflection of the LED panel lights appeared in his glasses. In order to fix that, we had George remove his glasses. We will have to take this into consideration when filming our news items and promo. 

Once we shot a clip of George, we then imported the footage into After Effects. We were shown by technical tutor, Ferg, how to replace the green background with a different background and how to fix the remaining green spill. In order to reduce the spill from the green of the green screen, we used the advanced spill suppressor tool. 

As a result of this workshop, I learnt how to edit a greenscreen background in Adobe After Effects, which I will use going forward when it comes to the editing of our project.

TV News Production - Camera Workshop

Camera Workshop

The camera workshop introduced us to the Panasonic AG DVX200 4K camera.

Figure. 1

When setting up the Panasonic camera, it is key to ensure that you take your time and set up the sound, white balance, exposure, focus, framing, and format (SWEFF2). Ensuring that the time and date is correct is another key aspect of setting up the camera as it allows you to easily find and access the clips that you want when editing your footage. Having the time and date also allows for the logger to accurately log and timecode the footage, making it easier for the editor to find the footage. 

It was suggested that when shooting our news package/live OB, we could record wild track (for example, sounds of the sea, guns firing, cars revving) to dub and cover gaps within the coverage (Moloney, 2021). This is something to think about and potentially carry out when we are shooting our news package/live OB, as it could add more and increase and/or create an emotional connection with the audience. 

Upon viewing our footage, we realised that the audio from the clip mic was too loud. For future reference we will ensure that the person wearing the clip mic will be asked to have a conversation with one of the crew rather than a quick brief few words, which will aim to ensure that the audio is at a good level and isn't too loud. The ideal sound level is within the range of -12db to -20db (Moloney, 2021). Our sound was set to -16db, but we could've gone lower than that so that the incoming audio was quieter.  

Bibliography:

Fig. 1 Panasonic (2021) Panasonic AG DVX200 Camera. [Photograph] At: https://business.panasonic.co.uk/professional-camera/4k/AG-DVX200/Fixed-lens-4K-Memory-Card-Camera-Recorder (Accessed 07/10/2021).

Moloney, F. (2021) TV News Production: Camera Workshop. [Kent: University for the Creative Arts 07/10/2021]. 

TV News Production - Analysis of a News Programme's Branding

 Analysis of a News Programme’s Branding

With Channel 4 News being one of the news platforms to have the highest number of viewers within our target age range of 16-35-year-olds (25%) (Broadcasters Audience Research Board, 2020), I conducted an analysis on Channel 4’s branding.

Channel 4’s branding is incredibly simple, yet effective. A simple number 4 is used alongside a 

Channel 4 news possesses a website as well as various other social media platforms. Channel 4’s logo holds simplicity as it is the number four made up out of simple shapes. When creating our logo, I used simple shapes and ensured that there weren’t too many elements to our logo as to make it more memorable and avoid people being overwhelmed by it. I used bold colours so that the logo would stand out. With global online media consumption doubling in 2020 (Koetsier, 2020), and most news platforms (including Channel 4) using social media and having their own websites, I decided to create a website and social media accounts for our news channel. 

There are often images at the very beginning of Channel 4’s Broadcasts

Within Channel 4’s news programmes, graphics displaying statistics are often used and are either displayed on a screen behind the anchor or as a visual. When editing our project, I will input graphics in as it is a more visual and interactive way of telling a story to an audience, rather than having them watch the anchor the whole time. Hopefully, it will allow for the audience’s interest to be maintained. 

Channel 4 maintain a consistent colour scheme (purple, black, grey, and white) throughout each of their news programmes. This consistent theme allows for the audience’s attention to be maintained and for their focus to be on the news and content at hand rather than being distracted by the colour scheme constantly changing. In response to this, we will keep our colour scheme consistent throughout, maintaining the use of the colours from our chosen colour palette. 

Channel 4 uses a mixture of graphics, images, B-roll, interviews, and the presenter in the studio. Their news programme often starts with an image. Going forward with our news programme, we will look into inputting these aspects into our piece. However, we want to appear more friendly in the tone of our news programme than that of Channel 4’s and have a greater sense of interactivity between the anchor, news programme and the audience. 

Bibliography:

Channel 4. (2021) Channel 4 News. At: https://www.channel4.com/programmes/channel-4-news (Accessed 04/11/2021).

Koetsier, J. (2020) ‘Global Online Content Consumption Doubled in 2020’ In: Forbes 26/09/2020 At: https://www.forbes.com/sites/johnkoetsier/2020/09/26/global-online-content-consumption-doubled-in-2020/?sh=7e4c3af02fde (Accessed 24/10/2021)