Evaluate the adverts (U20: M3, D2)
Learning outcome 3 (U20): Be able to produce the planned media components.
Explain how the created media components comply with the codes and conventions of the media sectors (U20 M3)
Demonstrate how the technical and aesthetic properties of the media components meet the client brief (U20 D2).
The client brief asked for an advertising campaign featuring a billboard, magazine, video and social media advert for a new fizzy drink - Phizzwizzard.
For our video advert, we got inspiration from Back To The Future's iconic character, Dr Brown, because of his chaotic approach to science, as well as his crazy, white hair.
We decided to twist the character to fit our vision of what we wanted the final product to look like, in the hopes that people would be drawn to watch the advert because of its light hearted humour.
Similarly, creating a loveable character makes it easier for audiences to like him, and decreases any chance of our audiences hating the advert. This will also help our brand awareness because people will review the advert, and tell their family and friends to watch it. If we gain good reviews it also puts us in good competition with other popular fizzy drink brands, such as, Fanta and Coca Cola.
Throughout the campaign production, we made sure to adhere to the codes and conventions of each product, and also made sure that our message was clear so that consumers know that we are advertising a fizzy drink.
Before creating our magazine and billboard adverts we researched into other popular brands, such as Mountain Dew and Coca Cola because their adverts are successful, and we want ours to be successful too. These pre-production documents really helped us understand different codes and conventions to apply throughout our static advertisements in order to conform to the media product.
In the Mountain Dew advert, a simple colour scheme is used against a plain, white background. This suggests the colour of the drink, and also helps the billboard stand out to passers by. We were inspired by the design of the billboard because it focuses on the product being advertised but also makes reference to the brand by including the slogan "do the dew". For our billboard we included a Phizzwizzard can exploding that was inspired by this Mountain Dew advert. Similarly, we coloured the liquid pink to clearly show the colours of our brand. Mountain Dew has a citrus flavour, so the ad design is green and yellow to represent lemon and lime. Because our advert is for a strawberry based drink, we used pinks and reds to represent this flavour.
The Mountain Dew advert helped give us the idea to keep our adverts simple, yet sophisticated in order to stand out against other fizzy drink advert campaigns. Similarly, we made sure to create synergy between each of our adverts so that people would be able to recognise the colours schemes and designs, and relate them back to our brand.
On both our magazine and billboard adverts we made sure to include a # with our slogan, and the different social media platforms that the campaign is on, this keeps the campaign relevant and enables us to compete against other popular fizzy drink brands, such as Coca Cola and Mountain Dew.
In order to make sure we kept to the client brief, we included the company name on both our magazine and billboard advert so that consumers know the company to go to if they have any inquiries. Additionally, we ensured that the colour red/pink was used throughout in order to meet the requirement that it had to be red in colour (in connection with the liquid). Our visualisation diagrams helped support our vision and allowed us to test out different compositions and colours. Our colour wheels also completed in the pre-production stage helped support our vision.
For our billboard advert, we decided to include an image of the can of Phizzwizzard to show what we were selling, so that consumers do not receive a different product to what is advertised, or feel that the product they got is different to what was advertised. Including the can itself is a convention of soft drinks ad, where the can or bottle always take on a central part of the overall imagery. This helps consumers identify the can when they are in a store, so will help with sales. Because this is a new product, we need to ensure that this branding is emphasised throughout the campaign. Brands like Coca Cola, that are already well-established, do not always need to show the bottle or can in their adverts - the logo alone can be enough. This met the client brief as ultimately, we were asked to promote a drink from Carter Soft Drinks. Placing the can in the billboard (and magazine/video advert) is paramount to promoting this product.
On our billboard we also included strawberries, strawberry laces and bubbles to ensure the branding is the same throughout each advert, this also clearly states the flavour of the drink. In addition to this, the red is a vibrant colour so will help the ads stand out, either in magazine format or on a billboard. Again, our visualisation diagram helped us in the planning stage with regards to the composition any style.
The drink name was also featured in all of our adverts, in the centre of the page to make it eye catching and memorable. The font used for the drink name is soft and easy on the eyes, but also bold because it is outlined with a thick white line, and a thin black line. This is a key convention, but also links directly to the client brief. This is another explicit requirement that we met.
On the magazine advert, we also included the price of the drink, so that consumers know how much the drink is before they think about purchasing the product. Similarly, this also makes the company avoid any legal issues from false advertising because the price and product are clearly stated.
For our final magazine design, we decided to use the same setting as our video advert to create a mascot for the campaign. This enables consumers to create a story out of the character in the video advert. We could have changed this by offering a different setting, however it may have minimised the consistency of the campaign.
The reason for this was to maximise all our possible target audiences. For example, if people see the video advert, they will recognise the actor on the magazine advert, and be able to make the link between the two adverts back to our brand.
For our video, we were inspired by the style of silent films because they have no speaking, other features in the video are enhanced. For example, increasing the speed of the footage (which we did), we increased our footage by 0.1x. Charlie Chaplin films are an example of where this inspiration came from.
At the beginning of the video, as the music gets louder, the footage also gets louder. We also added an old fashioned film reel filter to the entire video, which gave the footage vertical lines across the screen.
Using this filter gives the advert a timeless quality, along with the upbeat background music. Moreover, we decided to have no speaking throughout the video because it would make it too chaotic and take away the effects that we're trying to create from the music and fast-paced footage. At the end of the video, when the scientist opens the can, the music is lowered and this is when the only speaking is featured. From watching a range of video adverts from drinks companies such as 'Ribena' and 'Red Bull', it became apparent how vital non-diegetic music was to an advert as it builds an atmosphere. Our storyboard helped us when planning this aspect of the video advert. Although a voiceover is a key convention to video adverts, we felt that this wasn't necessary and instead the visuals supported our message and promoted the product.
Overall, we felt that the style of the video would appeal to all target audiences because it is lighthearted and comical. The client brief states that our major target audience is ages 13-18, but we're also aiming the drink at a retro audience of 30-somethings because they grew up drinking fizzy drinks mainly from cans. In order to appeal to both these audiences we made sure to give the video a universal appeal. For example, the 30-somethings grew up around the same time that Back To The Future was released, and our video advert is reminiscent of this. Similarly for our major target audience of 13-18 year olds, our video advert is reminiscent of animated tv shows, such as Phineas and Ferb, and Futurama.
When planning our adverts we had to complete various different components in order to make sure we adhered to the requirements of client brief. The main components that helped us to finalise our video idea was the storyboard. The storyboard helped us to plan our video advert frame by frame, including the mise-en-scene for each. This helped us make sure our edits were professional and had no mistakes. Similarly, it also helped us to plan the different angles of shots we needed. Additionally, our treatment was an important part of the pre-production. We were able to achieve a successful mise-en-scene through the locations, costumes and characters. Without this document, we would have significantly struggled to achieve the right aesthetic.
In the storyboard, we planned to begin the video with a backing track shot of the actor walking towards the camera. We wanted to have the main character in mid shot, as this would give a sense of setting and also character, establishing this early on.
For the first few cuts, we wanted to keep the main character as the focus, in mid shot, as he walks into the laboratory. We kept the cuts slightly longer earlier on, so that the later scenes of explosions in the lab could feature more cuts, therefore increasing the pace and excitement of the ad.
For the sequence in which the main character writes on the board, we planned to use a close up of his hand. We wanted to use multiple cuts in this sequence to suggest the quick passage of time - that the equations he is writing are coming quickly because he is so inspired. Having multiple cuts in a short space of time works like jump cuts.
We also sped this sequence up in post-production, making the scientist seem mad, eccentric and inspired. For the sequence in which the Phizzwizzard drink is created, we planned on using a sequence of still images, and wanted these to look almost like time-lapse photography - so that the consumer can watch the strawberry laces grow in the beaker, as if by magic. This worked well, but it would have been better if we'd had more variety of shots in this particular sequence, as one or two did not add to the overall effect. I'd also like to have used a greater number of shots, to add a more dramatic effect. However, the use of flares and explosions in post-production helped to create a real sense of drama in the sequence, as well a comedy. This met the client brief as it is engaging to both the primary and secondary target audience outlined clearly.
Furthermore, we met the explicit requirement from the client brief, outlining that the campaign will be shown across social media platforms. In order to increase its success, we placed the logo of various social media platforms similarly to our billboard and magazine adverts. This not only became apparent from our research when looking at different magazine and billboard ads, but also from various video adverts.
Visualisation diagrams
These are our visualisation diagrams for the billboard and magazine ad
The final magazine ad was similar to the visualisation diagram, but we decided to use a close up of the scientist, rather than the mid shot in the visualisation. This was because we felt that the crazy hair was one of the main features we wished to highlight, as was the crazy expression in his eyes. Therefore, we felt that we could deviate from the planned sketch.
The final billboard comes quite close to the visualisation diagram. However, we added the striped sunburst pink effect in the background because otherwise we felt there was too much dead space on the overall image. This helped to give the billboard drama and vibrancy.
Explain how the created media components comply with the codes and conventions of the media sectors (U20 M3)
Demonstrate how the technical and aesthetic properties of the media components meet the client brief (U20 D2).
The client brief asked for an advertising campaign featuring a billboard, magazine, video and social media advert for a new fizzy drink - Phizzwizzard.
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| Source: Google |
We decided to twist the character to fit our vision of what we wanted the final product to look like, in the hopes that people would be drawn to watch the advert because of its light hearted humour.
Similarly, creating a loveable character makes it easier for audiences to like him, and decreases any chance of our audiences hating the advert. This will also help our brand awareness because people will review the advert, and tell their family and friends to watch it. If we gain good reviews it also puts us in good competition with other popular fizzy drink brands, such as, Fanta and Coca Cola.
Throughout the campaign production, we made sure to adhere to the codes and conventions of each product, and also made sure that our message was clear so that consumers know that we are advertising a fizzy drink.
Before creating our magazine and billboard adverts we researched into other popular brands, such as Mountain Dew and Coca Cola because their adverts are successful, and we want ours to be successful too. These pre-production documents really helped us understand different codes and conventions to apply throughout our static advertisements in order to conform to the media product.
 |
 |
In the Mountain Dew advert, a simple colour scheme is used against a plain, white background. This suggests the colour of the drink, and also helps the billboard stand out to passers by. We were inspired by the design of the billboard because it focuses on the product being advertised but also makes reference to the brand by including the slogan "do the dew". For our billboard we included a Phizzwizzard can exploding that was inspired by this Mountain Dew advert. Similarly, we coloured the liquid pink to clearly show the colours of our brand. Mountain Dew has a citrus flavour, so the ad design is green and yellow to represent lemon and lime. Because our advert is for a strawberry based drink, we used pinks and reds to represent this flavour.
The Mountain Dew advert helped give us the idea to keep our adverts simple, yet sophisticated in order to stand out against other fizzy drink advert campaigns. Similarly, we made sure to create synergy between each of our adverts so that people would be able to recognise the colours schemes and designs, and relate them back to our brand.
On both our magazine and billboard adverts we made sure to include a # with our slogan, and the different social media platforms that the campaign is on, this keeps the campaign relevant and enables us to compete against other popular fizzy drink brands, such as Coca Cola and Mountain Dew.In order to make sure we kept to the client brief, we included the company name on both our magazine and billboard advert so that consumers know the company to go to if they have any inquiries. Additionally, we ensured that the colour red/pink was used throughout in order to meet the requirement that it had to be red in colour (in connection with the liquid). Our visualisation diagrams helped support our vision and allowed us to test out different compositions and colours. Our colour wheels also completed in the pre-production stage helped support our vision.
For our billboard advert, we decided to include an image of the can of Phizzwizzard to show what we were selling, so that consumers do not receive a different product to what is advertised, or feel that the product they got is different to what was advertised. Including the can itself is a convention of soft drinks ad, where the can or bottle always take on a central part of the overall imagery. This helps consumers identify the can when they are in a store, so will help with sales. Because this is a new product, we need to ensure that this branding is emphasised throughout the campaign. Brands like Coca Cola, that are already well-established, do not always need to show the bottle or can in their adverts - the logo alone can be enough. This met the client brief as ultimately, we were asked to promote a drink from Carter Soft Drinks. Placing the can in the billboard (and magazine/video advert) is paramount to promoting this product.
On our billboard we also included strawberries, strawberry laces and bubbles to ensure the branding is the same throughout each advert, this also clearly states the flavour of the drink. In addition to this, the red is a vibrant colour so will help the ads stand out, either in magazine format or on a billboard. Again, our visualisation diagram helped us in the planning stage with regards to the composition any style.The drink name was also featured in all of our adverts, in the centre of the page to make it eye catching and memorable. The font used for the drink name is soft and easy on the eyes, but also bold because it is outlined with a thick white line, and a thin black line. This is a key convention, but also links directly to the client brief. This is another explicit requirement that we met.
For our final magazine design, we decided to use the same setting as our video advert to create a mascot for the campaign. This enables consumers to create a story out of the character in the video advert. We could have changed this by offering a different setting, however it may have minimised the consistency of the campaign.
The reason for this was to maximise all our possible target audiences. For example, if people see the video advert, they will recognise the actor on the magazine advert, and be able to make the link between the two adverts back to our brand. |
| Source: YouTube |
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| Source: YouTube |
For our video, we were inspired by the style of silent films because they have no speaking, other features in the video are enhanced. For example, increasing the speed of the footage (which we did), we increased our footage by 0.1x. Charlie Chaplin films are an example of where this inspiration came from.
 |
| From Charlie Chaplin's Modern Times |
Using this filter gives the advert a timeless quality, along with the upbeat background music. Moreover, we decided to have no speaking throughout the video because it would make it too chaotic and take away the effects that we're trying to create from the music and fast-paced footage. At the end of the video, when the scientist opens the can, the music is lowered and this is when the only speaking is featured. From watching a range of video adverts from drinks companies such as 'Ribena' and 'Red Bull', it became apparent how vital non-diegetic music was to an advert as it builds an atmosphere. Our storyboard helped us when planning this aspect of the video advert. Although a voiceover is a key convention to video adverts, we felt that this wasn't necessary and instead the visuals supported our message and promoted the product.
Overall, we felt that the style of the video would appeal to all target audiences because it is lighthearted and comical. The client brief states that our major target audience is ages 13-18, but we're also aiming the drink at a retro audience of 30-somethings because they grew up drinking fizzy drinks mainly from cans. In order to appeal to both these audiences we made sure to give the video a universal appeal. For example, the 30-somethings grew up around the same time that Back To The Future was released, and our video advert is reminiscent of this. Similarly for our major target audience of 13-18 year olds, our video advert is reminiscent of animated tv shows, such as Phineas and Ferb, and Futurama.
 |
| Futurama, with mad scientist |
In the storyboard, we planned to begin the video with a backing track shot of the actor walking towards the camera. We wanted to have the main character in mid shot, as this would give a sense of setting and also character, establishing this early on.
For the first few cuts, we wanted to keep the main character as the focus, in mid shot, as he walks into the laboratory. We kept the cuts slightly longer earlier on, so that the later scenes of explosions in the lab could feature more cuts, therefore increasing the pace and excitement of the ad.
For the sequence in which the main character writes on the board, we planned to use a close up of his hand. We wanted to use multiple cuts in this sequence to suggest the quick passage of time - that the equations he is writing are coming quickly because he is so inspired. Having multiple cuts in a short space of time works like jump cuts.
We also sped this sequence up in post-production, making the scientist seem mad, eccentric and inspired. For the sequence in which the Phizzwizzard drink is created, we planned on using a sequence of still images, and wanted these to look almost like time-lapse photography - so that the consumer can watch the strawberry laces grow in the beaker, as if by magic. This worked well, but it would have been better if we'd had more variety of shots in this particular sequence, as one or two did not add to the overall effect. I'd also like to have used a greater number of shots, to add a more dramatic effect. However, the use of flares and explosions in post-production helped to create a real sense of drama in the sequence, as well a comedy. This met the client brief as it is engaging to both the primary and secondary target audience outlined clearly.
Furthermore, we met the explicit requirement from the client brief, outlining that the campaign will be shown across social media platforms. In order to increase its success, we placed the logo of various social media platforms similarly to our billboard and magazine adverts. This not only became apparent from our research when looking at different magazine and billboard ads, but also from various video adverts.
These are our visualisation diagrams for the billboard and magazine ad
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| Magazine Visualisation Diagram |
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| Billboard Visualisation Diagram |
The final magazine ad was similar to the visualisation diagram, but we decided to use a close up of the scientist, rather than the mid shot in the visualisation. This was because we felt that the crazy hair was one of the main features we wished to highlight, as was the crazy expression in his eyes. Therefore, we felt that we could deviate from the planned sketch.
The final billboard comes quite close to the visualisation diagram. However, we added the striped sunburst pink effect in the background because otherwise we felt there was too much dead space on the overall image. This helped to give the billboard drama and vibrancy.
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