57. Media Terms Powerpoint

posters.ppt

55. Audiences and Institutions: New Media Technologies

New Media Technologies

50. storyboard example 1 from the best

48. EXEMPLAR CRITICAL EVALUATION

UNIT 2733 – ADVANCED PRODUCTION

EXEMPLAR CRITICAL EVALUATION

Music Production Work Report
     
The task was to produce a music video, single and album cover for a particular band. We divided into groups and listened to a mixture of bands in which we may base our work on. My group decided upon Michelle Branch – Everywhere, we felt this song was the one that would give us most potential.
At the beginning of Year 12 we learnt how to use iMovie, iTunes and PhotoShop. Our Year 12 projects were to produce three iMovie adverts for a chocolate company. We then progressed onto producing a three minute opening sequence for a thriller. This year we will be using more sophisticated camera work, PhotoShop for our CD covers and editing so that the lip syncing fits in well.

In our pitch we based the video on three areas: (see booklet) this would prevent the audience from getting bored of seeing the same location throughout the video. For location we wanted it to be based in two places: a studio for the band and city centred for the narrative. The plane shot was cancelled because if the shot didn’t look right or was unsteady then we’d loose valuable film time. The video would be simple with shots of her performing and writing lyrics. This would illustrate the lyrics and visuals as we would then add shots of the man she’s singing about.

For research we watched and discussed music videos of previous groups. For example, avoiding backwards footage for a long time and shots that make no sense. Also, how important costumes and location are to a video. Through the analysis of music videos in industry we found what’s common in popular videos and what videos for different genres contain. I continued watching music videos at home on MTV, VH1 and The Box for ideas. Looking at artists with a similar image to our artist gave more guidance on shots to use and whether to follow a narrative.

We forgot about a band since there maybe the problem of reliability so we thought it best to stick with just a singer playing the guitar. We thought about having the singer in a narrative where the male character is someone from her record company but thought this may become too confusing and followed too much narrative.

As Michelle Branch is an unknown artist to my group, I decided to look at her web site for information on the genre of her music and record company so we could portray her image as accurately as possible.

The target audience would be those who generally like pop/rock music. Since Michelle Branch is with the record company Maverick, co-founded by Madonna, this presents the idea that their audience’s may be similar. Since she’s only 18 years old, we chose a girl from our group to be the singer because she created the image we wanted, she’d also be reliable for filming. We wanted her to have a slight rock image so she wore the appropriate clothing. The male character was smart/casual so he suited the artists’ image.

The College drama studio seemed the best place to film the singer playing the guitar, the simple setting would enable the focus to be on only her. To add mood to the shots we made use of the lighting in the studio. When editing we found this created the effect we had wanted, emphasising that the singer is alone. 

Our other location was London for an urban setting. We filmed our original actor here but had the problem of using analogue, when editing they were of a bad quality and less focused so we ended up using less of these shots and filmed more on digital at College. Luckily another member of a group in Media was willing to play the male role.

We had a general shot list of what was needed in the video, containing varied camera shots and angles whilst distributing filming the footage between our group. We had to drop some filming ideas due to timing or because they made no sense with the rest of the video.

When editing, the shots at the beginning of the video were contradicting the music and visuals rather than illustrating them, so to grab the attention of the audience we made them fast paced. For the chorus we repeated the shot of her singing in a park to keep the video stable and familiar. We were going to make the shots of her love interest black and white but other people didn’t see any reason to. Instead we slowed the clip down for a dream-like effect. We used a cross dissolve in most of these shots to seem more surreal.

We thought the audience may get bored of the same shots of her performing and of the male character, so in the guitar solo we sped her up when she was fooling around to split the video up and make her look free and easygoing. We adjusted the colour to make it bright and vivid so there wasn’t confusion over whether it’s linked to the narrative or not.

For the album cover we forgot the idea of the singer laying in a bed of roses (see booklet). Although it symbolises the music being rocky and romantic, we thought it may also be expensive to create. Instead we used an image from our video and placed this on the centre of a black backdrop so she’s the main focus like many other conventional pop/rock groups including words of thanks and a list of songs on the album. For a sleeve in the album I thought about creating a collage with different images of the singer performing like bands such as Limp Bizkit and ŒNSync have done.

We chose a close-up side shot of the singer looking ahead, adjusting the colour so the image’s slightly abstract, this makes it striking and eye-catching. For the back cover we placed an image of the singer in a similar, smaller framed pose looking down as a way of showing a closing to the CD. For both the album and single we used the same font for a familiarity. We made the font small, simple and white which is prominent but doesn’t detract from the image. 

When analysing our finished music video, the lip syncing seems a problem because some shots are not edited in at the right time. If we had extra time, I would’ve liked to improve this.

The analogue wasn’t of the best quality so we had less shots to use, but we used the digital camera in lesson time with our new male character giving us more variety of clips to choose from.

I thought the music and visuals were successful in most areas of the video yet the last few shots of the male character walking away from the camera seemed too long and it would have been better to put a few more cuts in between. However, the very last shot of the singer on the guitar singing to the camera had to fit in for the lip syncing to work and it had taken a while just to get the shots of him walking in time, and the rest of the group thought it was fine.

Adjusting the colour on our singer when she was playing around with the guitar, I believe, worked well as it stops the video from being too repetitive and predictable, a kind of break from the narrative.
We used Andrew Goodwin’s method from the book, Dancing in the Distraction Factory (Routledge 1992) to analyse our music videos.

We communicated meaning in the video by illustrating with music and visuals the narrative and using dissolving transitions for dream shots.

The narrative didn’t go anywhere since we wanted it to be simple and also get the audience thinking whether something may or may not happen with the male and female character, yet we tried to make this understandable through cuts and dissolves.

I feel we represented Michelle Branch in the best way possible through location and costume. Her costume was best linked to a pop/rock genre for her age group and our locations were simple and shouldn’t be too recognisable to our audience.

The combination of lyrics and visuals that we used both contradicted the video with “I’m not alone” and “You’re everywhere to me” when we showed a long shot of her alone in the drama studio and illustrated the video when she sings, “You always light my way” when we show a low angle medium close-up of her love interest against the sunlight in the background. Some of his shots turned out better than expected. Due to the sunny day, the sunlight on the camera created silhouettes and beams of light which produced a mysterious but warm effect on screen.

The music and visuals are illustrated with fast music and fast editing when the drum beats in the song and there’s a guitar solo. They are amplified when we speed up the buses in the street so it seems the world is going fast as the singer is writing the lyrics to her song.

To contribute to the star status of our artist we included close-ups and other varied shots like long and medium shots so the audience will begin to recognise her, this was also developed by showing her in separate locations and in performance.

We felt the use of voyeurism in our video wouldn’t be suitable for Michelle Branch’s music or image, yet we leant towards this idea on the male character as she looks or thinks about him obsessively.
We tried to make Michelle Branch’s video as original as possible, but still found some intertextuality within other music videos. The simple narrative of the male character and female singer has been present in most of Britney Spears’ videos, for example Born To Make You Happy involved little narrative, just shots of her with her boyfriend in a plain room and singing, but the difference with ours is that she didn’t interact with her love interest. Also, from the film Moulin Rouge Ewan McGregor and Nicole Kidman released the song Come What May that shows quick out takes of them both together fooling around in front of the camera to divide the music video up from the highlights of the film. We followed this idea with quick shots of our singer playing with the guitar. Our final idea is the speeding up of shots. In Madonna’s video Ray Of Light she repeatedly shows shots of people and objects moving fast by speeding up the footage. We felt we could create this idea with just one shot.

For the single cover I like the effect adjusting the colour created as you can’t tell whether it’s a filter or lighting in the studio. The main focus of the image is her eye which is slightly off centre yet to balance the piece, the audience would read the text in the middle of the cover towards the right The colour is warm and makes the image static and vibrant as if the artist gets a warm feeling when she thinks about her love interest. I think it’s also a successful use of space in the square as she surrounds the whole area.

The font worked well with the image on both covers as it doesn’t prevent Michelle Branch from being the focus of attention. Whilst the title of the song, “Everywhere” gives a sense that the artist is everywhere, along with her love interest.

By looking at both covers it is clear that Michelle Branch is a solo artist and part of a pop genre. If she was based more for example, on Heavy Metal, then this would be seen through her image as she may wear more makeup, different clothes and the cover maybe more abstract.

I think the darkness of the album cover was successful because it adds mystery and mood to the music. The spotlight on the artist makes her glow and creates the impression that she’d light up a room with her music.

It would have been better to add more detail to the inlay of the album as we only mentioned briefly who the artist wished to thank, who produced it and where it was recorded.

The function of music videos is to promote music made by bands of all genres. They are used frequently whilst a band is on tour so they are able to publicise their music whilst not having to travel to perform. They can enhance a star’s image with the way they are represented. Videos sell singles and albums for bands and are a staple product of music TV channels, for example, MTV and VH1. However, for a video to be successful it must be entertaining and suit the audience and genre it is being aimed at.

Jake and Jim of record company Godman, gave a talk at our College where they said that due to deadlines they have to adapt if problems arise in filming or editing. Our music video follows the concepts of the music industry as we too had limited time for equipment, editing and performers. We also had to produce a pitch to show what our ideas are for the video. We may also not necessarily like the song  we’re creating a video for, but as it’s the task we have been given, we must proceed.

CD covers sell an artist. If a cover is plain with no image it may be less successful than one that contains information about the band or a striking image to grab the attention. CD covers give an idea of what genre the band are in. They can make the difference between success and failure, this also applies to music videos.

After presenting our video to an audience, we generally got a positive response. They felt there was a variety of shots and angles that worked well, especially the pan of the male character and the artist. They believed using the same shot on them both showed there was a link between them. The shots of the singer looking down were also noted for being more naturalistic and original than if she was singing to the camera.

People believed the use of lighting added atmosphere and disguised the drama studio we filmed in. Everyone noticed there was a link between the lyrics and visuals in this location as she sings, “I’m not alone” when she’s really contradicting this.

The idea of speeding up the footage and adjusting the colour when it came to the guitar solo was seen as a good idea, compensating for the problem of us having no electric guitar to use and they believed there was no reason to show a band since focus on just the lead singer was appropriate to “selling” our artist in the music industry.

The locations showed a distance between the singer and male character. Since the shots of the singer in public places were taken in London, and shots of the male character were taken in a field, they believed it showed distance between them.

One problem a few viewers had was the false sense that at the end of the video the characters would meet each other face to face. We argued, if she doesn’t meet him, it adds mystery to the video and the last lyrics, “Tell me, do you see me?” creates the impression that she hasn’t actually interacted with him before. However when it came to editing, we thought it would be suitable to keep the narrative simple and not involve an ending so it keeps the viewers guessing whether they’ll actually may meet or not. It created mystery for our viewers when she was sitting down writing in a note book as they weren’t sure whether she was writing a love letter or the words to the song.

A comment was made on less variety of locations for the male character compared to the singer, but we were unable to solve this problem since we had to take these shots in limited time due to the problems we had in London with analogue.

However, overall our audience believed our video had clarity of meaning, was entertaining and followed the general conventions of a music video.

Audience feedback for our single cover was generally positive, people liked the contrast in light on both sides of the image. They believed brightness showed happiness, whilst darkness portrayed sadness. It was also commented on as a strong, single composition.

For both covers we were given generally the same comments. Everyone liked how the lighting affected them both as it created mood and atmosphere. The use of the same font for both covers was also a strong point as like many covers for the same music genre, it was recognisable, simple and represented Michelle Branch being serious about her music.

There was disagreement over them being quite plain, a few people thought something should be added to the covers whilst others thought it was better the way it was because it’s simplistic yet illustrates the artist being a solo singer and there’s a clear music genre.

Everyone thought the tracks were clearly labelled on each cover and the black and white contrast on the back of the album was good as it was keeping to the simplistic theme, along with the images.
Our audience thought the album looked more realistic including a thank you list and barcode however a few people spotted we forgot to black out the sign saying Madonna – Rain as this is the cover we used to scan in the Mavericks symbol.

The spotlight  above the artist on the front of the album added mystery and was similar to the single in that the artist is the focus of attention.

For our sleeve showing the singer performing, someone commented it is good as it shows the artist can play the guitar and is having has fun.

We were criticised slightly for not including more information on the inside cover of the album about each song, which I too think would have made the album more conventional.
It was clear to our audience which images were for the album and single cover. The front covers portrayed a realistic image of the singer and the genre of music she performs, one of our important main aims for both the CD covers and video.

Word Count: 2,994



Assessment

Key Strengths

Clear indication of brief and comparison with AS project.
Records and reflects upon all stages of the production and accounts for main decisions made.
Analyses finished product to show how form and content affect meaning.
Appropriate reference to ideas from Goodwin about structure and representation in music video.
Places production in relation to both other texts and industry practices.
Good reference to audience feedback.
Clear and systematic, detailed, thorough, reflective.

Level 4  27/30



46. Focus Group Powerpoint

focus_groups.ppt

44. Foundation production powerpoint

Foundation production powerpoint

41. Advanced Production Outline

Advanced Production Outline
The two assessment objectives tested in this unit are:
• AO8 Originate and construct a media text from an open brief, demonstrating technical skills and showing understanding of concepts such as audience, genre, representation and form.
• AO9 Critically evaluate the process and outcome of their own media production, drawing on knowledge of media institutions, audiences and critical theories.
Planning (30/120 marks = 25%)
Evidence of origination of brief and planning the production.
• Teacher evidence
• Part I of Critical Evaluation
(The following five aspects are all covered in the appendix to your critical evaluation.)
• Organisation of time
• Organisation of equipment
• Efficient use of actors, settings and props
• Prior scripting
• Prior storyboarding
Decide on target audience.
• Part 1 of Critical Evaluation
• State demographics
• Other reasons such as amount of disposable income.
Carry out initial research.
• Questionnaires
• Interviews
Research existing media practice and products.
• Filmmaking practices; technical, concepts, trends.
• Products; analysis of similar films/extracts.
The following is the descriptor for the highest level of attainment in this section:
Level 4 – Excellent
The production is well planned, with evidence of organised use of time and equipment. The candidate has devised an appropriate brief (AO8) as the starting point for research into similar products and a potential target audience. The use of actors, settings, props and technical resources is efficiently organised to allow the project to progress. Where time-based media are used, prior scripting and/or storyboarding is strongly evident. For print or ICT-based work, drafting is evident.
Construction (60/120 marks = 50%)
Use and/or subvert established forms and conventions to make meaning.
• Should be evident through your ability to deconstruct the work successfully in your critical evaluation and your planning as well.
• Can refer to content as well production techniques.
Understanding of formal aspects of textual production needs to be demonstrated, with attention to detail.
Clear sense in the product that it has targeted an audience and met original brief.
Clear demonstration of the skills needed in the particular technologies used to produce text.
Level 4 – Excellent
The candidate is expected to demonstrate excellence in most of the following technical skills:
• holding a shot steady, where appropriate;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en-scène including colour, figure, lighting, objects and setting;
• editing so that meaning is apparent to the viewer;
• using varied shot transitions, captions and other effects selectively and appropriately;
• using sound with images and editing appropriately for the task.
• using IT appropriately for the task set;
• showing understanding of conventions of layout and page design;
• showing awareness of the need for variety in fonts and text size;
• accurate use of language and register;
• appropriately integrating illustration and text;
• framing a shot, including and excluding elements as appropriate;
• using a variety of shot distances as appropriate;
• shooting material appropriate to the task set;
• selecting mise-en scène including colour, figure, lighting, objects and setting;
• manipulating photographs as appropriate to the context for presentation, including within text, within particular IT programs, cropping and resizing.
Critical Evaluation (30/120 marks = 25%)
Introduction
Describe production brief undertaken for AS and indicate how A2 is different, remembering to state different media that is being used
(not included in word count).
Part 1 (1000 words max)
Record the stages of production from a brief through planning to technical account of decisions and revisions made.
Development must be shown.
• What were your initial thoughts in response to the brief?
• Identify main stages of planning, i.e. narrative, storyboarding, changes made and decisions made about shots, lighting, angle, edits or language, layout, combination of text and illustrations.
Part 2 (1000 words max)
Analysis of finished product.
• How decisions about form and content have affected meaning.
• How the text communicates through its forms and conventions.
• Explicit reference made to critical theory; narrative organisation, genre, representation, inter-textuality.
Part 3 (1000 words max)
Production in wider context of media institutions and audience by analysing ways in which text compares to real media output.
Relation of product to audience which must include audience feedback.

40. Questions to ask about representation

QUESTIONS TO ASK ABOUT REPRESENTATION
Text 1 Text 2 Text 3 Text 4 Text 5
Who is shown? Groups/categories of people (– think demographics [age, sex, social class], + minorities [ethnic groups, disabled etc]) + how individuals are presented

How? (- think choice of images, connotations of technical & symbolic codes, captions & other language codes anchoring images)

What groups or categories are shown most?

Who is not represented?

Are there specific groups or categories only seen in specific places or roles? (ghettoised)

STEREOTYPES
Identify a range of stereotypes involved

Why are they used?

Comment on their use: offensive, out-dated, or used for deliberate comic effect?

For the exam – are stereotypes:

a) – informed

b) – challenged

c) – confirmed?

Use examples from both sitcoms

READINGS
How might specific different audiences respond differently to the preferred reading that is being offered?

Are these responses the producers of the material need to be aware of, or that they can ignore?

39. Task for Monday 17 Dec 2007

On your blog, please complete 2 of the 3 gender/representation/sitcom questions below. I will be looking at them over Christmas (Yeah I know I should get out more!)

Happy Christmas all

38. Representation Powerpoint

11-representations.ppt

36. Exam help – Gender/Sitcom

 Gender and Television Situation Comedy  

The representation of gender in television situation comedy.
[British and US Television Situation Comedies]Representation of the construction of gender in characters; construction of characters by appearance and dialogue; the characters’ function in the themes and narratives of the programmes; stereotypes and archetypes; casting issues; characters’ values and beliefs and how they are positioned by the narrative and preferred reading of the programme. ·        The key assessment objective here is how the student demonstrates knowledge and understanding of the processes of representation in media texts. ·        They have to do this by comparing the messages, values and social signification, in respect of gender, in two texts (you can choose US or British programmes, or a combination of the two). Therefore, students need to be prepared thoroughly on what the concept of representation is – you can do this with reference to a wide variety of media texts, including opportunities for self-representation (self-portrait exercise). ·        As with all exams, students need to be thoroughly prepared for the demands of timed answers and on how to structure an answer to an exam question. ·        For example, students would be wise to address the key words in the exam question straight away in the first paragraph and ‘touch bases’ throughout each paragraph, finishing with a concluding paragraph which refers to the specific wording of the question again.   ·        Too many times, students prioritise the topic and completely ignore the focus of the question and rush straight into a pre-prepared answer, for which they cannot get full credit, as the Examiner’s mark scheme is tied directly to the degree to which the candidates answers the specific question. ·        Students need to develop clear revision notes about the main points that are related to the topic and be prepared with a range of examples from specific programmes to illustrate their answer and which provide evidence for their assertions.  ·        Students need to understand that characters in sit-coms are the result of a variety of processes of construction – ideological, institutional and production processes (such as in the writing, casting, acting, direction, narrative, mise-en-scène, audience interpretation etc.) and are not self-determining entities. To that end, students are discouraged from producing character sketches or descriptions of characters. ·        It would be sensible to choose two specific episodes of two sit-coms to focus their final analysis on for their exam answer, but they can certainly ‘pepper’ their answer with references to other texts as appropriate. ·        It would also be advisable for students to provide the following details in their answer, to show attention to detail (as per sound academic convention for all textual references in any exams):-                     Title of programme and date or title of episode-                     Names of writer, director, producer, main actors’ names (previous roles)-                     Production company name and other programmes made by them-                     Channel of broadcast and time in schedule (original or subsequent)-                     Names of writers whose critical work is quoted and their sources (observe academic conventions for quoting). ·        Students should also strive for a formal mode of address in their exam answers; don’t be deceived by the comic aspect of the topic into writing using slang or a casual mode of address.  Be formal and attend to issues of presentation, spelling/grammar/punctuation etc.

35. Task for Friday, 6 December 2007 Exam Practice!

Please complete character maps for The Simpsons and Friends characters in terms of gender representation. Include dress, appearance, language,dialogue, quotes, archetypes, stereotypes, reverse stereotypes, society ideas and values and traditional male and female roles. Look for comparisons and contrasts.

Questions from past papers:

(d) Gender and Television Situation Comedy

Compare how the representation of gender is explored in the narratives of the two television programmes you have studied. [45 marks]

(d) Gender and Television Situation Comedy

Compare how ideas and values about gender roles are represented in your two chosen programmes. [45 marks]

 

(d) Gender and Television Situation Comedy

Compare how the representation of gender is constructed by the characters’ appearance and dialogue in your chosen two television programmes. [45 marks]

 Try answering these questions using detailed examples from episodes.

Good luck

34. Link to Past papers mark schemes etc

http://www.ocr.org.uk/qualifications/as_alevelgce/media_studies/documents.html#past_papers

33. A2 Predicted Grades

For your predicted grade the following:

1. Ensure I have your blog as comment on mine.
2. Ensure your first 1000 words of your Adv. Prod. work is complete on your blog. The focus is on the effect the research etc has had on your own work and should include your smart brief.
3. Your hypothesis and 12 articles plus first impressions of research field and choice of question.

I will mark these and add predicted grade as required.

Deadline: 11 December 2007

29. Analysing movies

Analysing movies ppt

27. AS Predicted Grade

For your predicted Grade. Please paste your essay on your blog. Ensure your blog is visible to me (paste the link) . I will mark and assess

26. A2 Media: GROUP/PEER ASSESSMENT

   A2 Media: GROUP/PEER ASSESSMENT On a sliding scale of 0-10 (0 being very poor and 10 being excellent) please rate each member of your crew INCLUDING YOURSELF on their qualities in relation to their work on the project. Keep this document confidential and be honest. At the bottom write in the total score for each person. STUDENT: …………………………….  PROJECT TITLE :………………………………  DAY OF C/W LESSON:…………………. 

	YOU (NAME)	PERSON 2	PERSON 3	PERSON 4
QUALITIES
1. Organisation ability
2. Reliability (including attendance)
3. Effort/hard work
4. Prepared to take responsibility
5. Leadership ability
6. Ability to compromise
7. Technical ability production
8. Technical ability post-production
9. Creative ability throughout
10. Team player & co-operative/helpful
TOTALS (out of 100)Add these up please

COLLEAGUE PERFORMANCE GUIDE80+ Great colleague      60+ Good colleague         40+ Reasonable colleague        Below 40 Poor colleague

25. INDIVIDUAL RESEARCH & PLANNING CHECKLIST

A2 MEDIA : POP PROMO  INDIVIDUAL RESEARCH & PLANNING CHECKLIST   STUDENT:                                                   DATE:    

INDIVIDUAL TASKS	STUDENT	TUTOR
1. 3 analyses of Pop Promos. Use of handout guides
2. Obtain and analyse lyrics to chosen song
3. Write 2 rough synopsis and treatments for song
4. Gather and analyse research into the chosen band
5. Write 15 questions for an audience questionnaire
6. 2 analyses of Pop Promos. Same or similar bands.
7. Detailed synopsis of video content. Individual
8. Detailed treatment of video content. Individual.
9. History & characteristics of Pop Promos report
10. 4 analyses of Pop Promos. (To make 9 in total)
11. Journal of the project. Decisions made.

  Tutor feedback: ………………………………………………………………………………………… ………………………………………………………………………………………… ………………………………………………………………………………………… ………………………………………………………………………………………… …………………………………………………………………………………………. ………………………………………………………………………………………….     PRED. GRADE:
LOCATION FINDERS CHECKLIST Production Title:                                        Shoot Date(s)  Location contact:                                       Location address: Telephone No.:Fax:Email:Mob:Directions from college to location:   

Is the location right for the script?
How available is the location
How noisy is the location. Is it suitable for recording sync sound?
Is the location bright enough? Will it need extra lighting?
What power supply is available at the location? Can it be used by the production?
Is location heated?
How long does it take to get to the location?
How will you get to the location? What means of transport will you have to use?
How much will it cost each person to get there? Are there parking fees etc?
Is the location big enough to accommodate crew and cast?
Do you need permission from local council/police to film at the location?
Where are the nearest toilets?
Are there any special health and safety issues with this location?
Nearest Hospital?Casualty?
Notes:

 VIDEO RISK REDUCTION SHEET  PRODUCTION:  LOCATION:  STUDENT NAMES:  PROGRAMME/COURSE:  DATE(s):  LECTURER APPROVED:  ENSURE ALL FIRE AND FIRST AID PRECAUTIONS ARE IDENTIFIED.ELIMINATE SIGNIFICANT RISKS FROM CHEMICALS, VDUs, ELECTRICITY, FOOD AND CATERING, LIGHTING, LIFTING, DANGEROUS TERRAIN, OBJECTS AND HEIGHTS.CLEARLY IDENTIFY ANY EXPERT HELP REQUIRED OR SPECIALISED EQUIPMENT.ATTACH SITE PLANS, RECCE NOTES AND PHOTOGRAPHS WHEN NECESSARY. 

ACTION TAKEN	PRODUCER, SIGN & DATE

 VIDEO RISK EVALUATION SHEET PRODUCTION: LOCATION: STUDENT NAMES: PROGRAMME/COURSE: DATE(s) TUTOR APPROVED THE HAZARDS LISTED BELOW MAY ALL BE ENCOUNTERED DURING PRODUCTION AND MUST BE IDENTIFIED BEFORE FILMING COMMENCES. IF THE RISK IS PRESENT YOU MUST THEN ASSESS THE LEVEL OF THE RISK FROM LOW TO HIGH. IF THE RISK IS PRESENT YOU MUST THEN FILL IN THE REVERSE SIDE OF THIS SHEET RISK REDUCTION AND STATE HOW YOU WILL MINIMISE THIS RISK DURING THE SHOOTING. THE HEALTH AND SAFETY OF YOUR CREW AND THE GENERAL PUBLIC MUST BE PROTECTED DURING ANY LOCATION SHOTS. 

HAZARD IDENTIFICATION	HAZARD PRESENT		RISK ASSESSMENT
	YES	NO	LOW	MEDIUM	HIGH
AUDIENCES AND GROUPS
BUILDINGS/CONSTRUCTION SITES
CHEMICALS AND SUBSTANCES
CONFINED SPACES
DANGEROUS TERRAIN
DERELICT BUILDINGS AND LAND
ELECTRICITY AND CABLES
EXPLOSIVES AND PYROTECHNICAS
EXTREME WEATHER
FIRE
FIREARMS/WEAPONS EVEN FAKE
GENERAL PUBLIC
MACHINERY
MANUAL HANDLING LIFTING
NIGHT OPERATIONS
NOISE
ROADS OR DRIVING OR TRAFFIC
SCAFFOLDING OR HEIGHTS
SCENERY CONSTRUCTION
STUNTS
VDUS AND COMPUTERS
WATER SAFETY
OTHER