Unit 3- D1 SECOND SUBMISSION

How meaning is created in 'The Space Guard':

In 'The Space Guard', meaning is created through the use of visual and special effects, mise-en-scene, and the use of dramatic devices. 

In 'The Space Guard' visual and special effects create meaning through its use of verifying the context that the programme is in. One of the visual effects that create meaning in 'The Space Guard' is the use of compositing various different stock images together to make the control desk in the opening minute of the teaser. Especially the use of the images of the blue translucent and holographic images that appear on the 'screen' (that is also the window to see the stars outside the space station) in front of the characters of the clock and the graph. These images help situate the programme in the context of its genre as the holographs give the impression that the space station is in the future. This creates meaning as the audience now understand that the programme set in the future. The meaning that the programme is set in the future helps the audience understand that some of the events that happen would be different from the time or universe that the audience are consuming the product from.

Photo evidence of the visual effect showing how meaning is created.

Meaning is also created through the use of the special effects such as the laceration wound on Captain Crain's head from knocking her head on the desk during the explosion. This creates meaning as the wound shows that the dangers the characters are going through are real to them and pose a threat. This creates meaning, as the audience know from this the type of programme that they are going to consume, a programme that is filled with danger and characters getting hurt or recovering from wounds. This also creates meaning as it shows that there are consequences to the character's actions, which created meaning for the audience as the audience will know that the threat for the characters is real (within the universe of the programme). The bloody wound shows the audience that anything could happen to the characters, which creates meaning as the audience are unaware of what could happen to them. It also helps to show Captain Crain's personality as she seams unfazed by the large head wound to her temple which shows us that she is no stranger to injury. This creates meaning as the character of Captain Crain is more realised by the audience and they will know what kind of character arch they may expect from this character, it also makes the audience curious as to how this strong woman has become a captain. This creates meaning as the audience become more invested in the character of Captain Crain and will be more likely want to continue to consume the product.

Photo evidence of the special effect showing how meaning is created.

Meaning is also created through the use of mise-en-scene. In 'The space Guard, the use of red lighting after the point in the narrative where the explosion has happened creates meaning as it shows the audience that something bad has just happened, as red light is known to symbolise alarms and danger. At the beginning of the teaser, the lighting is quite neutral, white walls with some blue light which create a peaceful atmosphere this creates meaning at the beginning as the neutral lighting tells the audience that there has not yet been any problems and the the ship is usually under good control. This creates meaning as the audience have a trust in the Captain as there has not yet been any problems on the space station. However, after the explosion, the lighting turns red, the audience will relate this to danger because of the symbolism what what the colour red represents. This creates meaning as the use of the red lighting shows us that the characters are in danger. This creates meaning as the audience are now concerned about these characters and will want the characters to get out of the dangerous situation. As well as this, the use of sound also shows how the characters are in danger. In 'The Space Guard', after the explosion of the space station, an alarm can be heard till the end of the teaser scene. This alarm creates meaning as alarms (sirens) signify that something bad has happened, for example a fire alarm or a burglar alarm. Here, meaning is created through the audiences prior knowledge of the signals of danger, and meaning is created by the sound of the alarm and the red lighting together showing the audience that something really bad and dangerous has just happened.

Photo evidence of the mise-en-scene showing how meaning is created.

Meaning is also created through the use dramatic devices. In fictional media products, dramatic devices, such as ending the teaser with a question creates meaning through the way it encourages the audience to continue watching. In 'The Space Guard' meaning is created through the way that the audience want to know what is coming up next and make the audience question whether or not the characters will survive or manage whatever predicament that they are in. This creates meaning for the audience as they will continue watching the show as their need to know what happens will make the audience want to continue to watch. The question of whether or not the characters will be able to solve the situation creates meaning for the audience as they are driven to find out what the problem is, which is the purpose of the show.

'The Space Guard' final product relates to the client brief through the way that it follows the client requirements. The client specified that 'The Space Guard''s main character be called Captain Crain, that the show be about an explosion that happens on a space station, and that there must be at least 1 special effect, and 3 visual effects. 'The Space Guard' Final product meets these requirements as all of these things were done, and this creates meaning as without the final product meeting the client requirements, the programme would not be made. 'The Space Guard' final product relates back to the proposal by the way that the narrative and special and visual effects are the same as what were planned. This creates meaning for the product, as without following the plan, the final product would not make any sense. 

Unit 3- M3 SECOND SUBMISSION

Applying Codes and Conventions to 'The Space Guard':

There are several codes and conventions of the science fiction genre that I have applied to 'The Space Guard'. The codes and conventions are; the setting, the narrative elements, the symbolism, and the mise-en-scene elements. 

The way that 'The Space Guard' shows the setting that is conventional of the science-fiction genre, is through the sets, and the special effects. 'The Space Guard' is set in space on a space station. This shows the science fiction genre as a large portion of media products of the science fiction genre are also set in space. The special and visual effects of 'The Space Guard' help reinforce the science fiction genre as they help put the sets into context. For example, during the scene set in the 'control room' the characters look out the 'window' to see space and the stars of space; this reminds the audience of the setting and the science fiction genre. As well as this, many science fiction media products are set in the future, or an alternate universe. This convention of the science fiction genre is represented through the futuristic technology that is shown through the visual effect of the 'holographic images' on the screen in front of the characters. The idea of 'The Space Guard' being set in an alternate universe to reality is shown through the idea of humans and aliens are living in co-habitation. This is shown through the character of the Lieutenant, as she is shown to be an alien through the special effect prosthetics that have been applied to the actress' face to show that she is not a human. The setting of the 'The Space Guard' also shows the conventions of the science fiction genre through the sets that the scenes from 'The Space Guard' are filmed. The two locations on the space station that are shown in the teaser scene and opening credits are the control room, and a corridor of the space station. Both of these locations are common locations for scenes of science fiction media products to be set. 

Image 1: A shot from 'The Space Guard' that is set in the space station's control room.

Image 2: A shot from Star Trek that is set in the control room of the ship. 

Image 3: A shot from 'The Space Guard' that is set in a corridor of the space station.

Image 4: A shot from Star Trek that is set in a corridor of the ship.

As well as the setting of 'The Space Guard' reflecting the codes and conventions of the science-fiction genre, these codes and conventions are shown through the narrative element. In science fiction media products, the tension is kept high through the constant danger that the characters are in. This is shown in 'The Space Guard' from the very beginning of the teaser, the characters are sensing the looming threat of something that has gone wrong. This theme is continued as the Captain continues to learn the bad information of what has happened because of the explosion; "communications were damaged in the blast...", "an unauthorised pod is leaving bey area 17...". The enjoyment of watching science-fiction media products is from watching the characters, whom the audience are invested in, be put in danger, and find ways to escape imminent peril, this is why I made the script so full of danger so to show what the whole programme will be about. As well as this, the language that is used by the characters use also reflects the science-fiction genre. Language such as "council of planets", "bey area 17", "emergency protocols" all show the science-fiction genre as they are linked to space, space ships, and are language that is often used on other science-fiction media products. 

Another convention of the science-fiction genre that was applied to 'The Space Guard' is the symbolism. In 'The Space Guard' the colour red is used to show the danger that the characters are in. In general, the colour red is associated with danger, and negativity. In 'The Space Guard' this is shown through the red lighting that is in most of the shots after the explosion. 

Image 5: Shot from 'The Space Guard' where the lighting is red to symbolise danger.

Image 6: Still from Star Trek 3 where the lights are red to symbolise danger.

Another way that 'The Space Guard' shows the codes and conventions of the science fiction genre is through the mise-en-scene such as lighting, props, costumes, and camera angles. The props that are in science-fiction media products ususally include technology that is futuristic and hasn't been invented yet. As well as control panels that feature flickering lights. This is shown in 'The Space Guard through the 'control panel' prop that is used in the opening part of the teaser scene. 

Image 7: Shot from 'The Space Guard' featuring a prop that reflects the codes of the science-fiction. 

Image 8: Still from Star Trek: Next Generation of a prop thats of a control desk. 

Another prop that that was used in 'The Space Guard' was the window that was looked through to space in the first part of the teaser scene. This shows the conventions of the science-fiction genre as most science-fiction media products are set in space, by having the window look out to space, it reminds the audience that the show is set in space. In both Star Trek and 'The Space Guard', the characters look out the window to space as the shows are set on space ships. 

Image 9: Shot from 'The Space Guard' where the characters are looking out at the stars through the window.

Image 10: 00:01 of a clip where the characters from Star Trek look out the window in their space ship at the stars.

Another convention of the science-fiction genre is that all the crew that are on the space ship all wear the same uniform. In 'The Space Guard', this is shown in through the navy blue jackets that the crew wear that make all the crew members look the same.  

Image 11: Shot from 'The Space Guard where the characters can all be seen wearing the same uniform. 

Image 12: Shot from Star Trek Discovery where all the characters can be seen wearing the same uniform. 

The codes and conventions of the science fiction genre can be seen throughout 'The Space Guard', in the language that the characters use, the mise-en-scene, props, setting, and everything that is in it. 

Image 2: https://www.newyorker.com/tech/annals-of-technology/the-enduring-lessons-of-star-trek

Image 4: https://www.eurobricks.com/forum/index.php?/forums/topic/153249-star-trek-tng-corridor-opinion/

Image 6: https://www.eurobricks.com/forum/index.php?/forums/topic/153249-star-trek-tng-corridor-opinion/

Image 8: https://www.icollector.com/Star-Trek-The-Next-Generation-TV-Starfleet-Bridge-Control-Panel_i23631779

Image 10: 00:01 https://www.youtube.com/watch?v=un6RjjDQ880

Image 12: https://taylornetworkofpodcasts.com/2017/06/02/go-trek-yourself-ep-14-the-trailer/

Unit 3- M1 SECOND SUBMISSION

Marketing and Distribution of 'The Space Guard':

'The Space Guard' is a television show for BBC 3. BBC 3 is an online streaming channel, aimed at 18-30 year old. The best modern marketing campaigns, are the ones that have a good balance between traditional marketing, and social media marketing. BBC 3 has its own Instagram, twitter and Facebook. Facebook and Instagram are good for sharing videos, therefore the teaser that I've made could be distributed on there to get the hype flowing on it. Twitter is very good for hashtags and to get certain movements to trend. For example, we could create a hashtag to get the product trending so that 'The Space Guard' will gain more popularity and more people would watch it. Hashtags are also very good for audience interactivity. In very popular marketing campaigns, it is when the target audience is able to interact with the product, they will be more likely to consume the product and encourage others to consume that product as well. For 'The Space Guard' this could be done through the use of a hashtag such as #thespaceguard, or through a personalised snapchat filter to make the user look like an alien. The personalised Snapchat filter would probably only be useful for the younger section of the age demographic (18-25) as they are the people who normally use Snapchat.

The part of the social media marketing campaign that is on Facebook will be focused at the older sections of the target audience, as Facebook is a social media site that is commonly used by young people. Advertising on Facebook is localised by the location of the user, to comply with this, the advert that we would put on Facebook would be found by people in the UK. Facebook adverts cost money depending on how often they are seen, or how often the user clicks on the advert. As we are trying to raise awareness for the programme, we do not necessarily want the Facebook user to click on the advert taking them to the BBC 3 page, so we would put a portion of the marketing budget towards having the 'The Space Guard' advert banner being the most commonly seen on the sides of someone's feed. Facebook is a good site for both pictures and videos, therefore, we would post the teaser scene on the BBC 3 Facebook page, and use the comment section to review whether or not the target audience are responding positively to 'The Space Guard' teaser scene. The Facebook post would consist of the final teaser scene and a description of what the show will be, who will star in it, and where the audience can watch it.

For Instagram, picture (or short video clips) adverts are shown in a person's main feed. Because of cookies, the adverts are in accordance to what the computer system thinks the user will like based on their previous searches. Because of this, the adverts for 'The Space Guard' are more likely to be found by people who would be the target audience; for example, people who like the science-fiction genre. As Instagram is more for photos than videos, we will post the stills from the teaser scene, and photos of the main characters that are in the show, so that the target audience will be more likely to know some of the characters before the show aires. 

For the traditional marketing campaign, BBC 3 often advertise their tent-pole shows on buses, as well as in newspapers. A poster for 'The Space Guard at bus stops or on buses would create a larger fanbase for the show as the posters would be seen by hundreds of people every day. The number 19 bus (London) would be a good bus to have posters for 'The Space Guard' as that bus goes past the Forbidden Planet Megastore, which is a famous comic book store for people who like all different types of science fiction shows, customers of that store would also be part of the target audience for 'The Space Guard' and by having posters on the number 19 bus  (London) that goes past there would help create more of a fanbase before the show is to be aired. If the posters were put on the If a review of the show could be published in the evening standard, then that could be read by men and woman on their way home from work. As well as this, the teaser could be shown as an advert on BBC 3 before other shows, to encourage people who already watch things on BBC 3, like Killing Eve. Through this 'The Space Guard' can attract more of a fanbase before the show even releases.

In my proposal for 'The Space Guard', I talked about how the target audience for 'The Space Guard' will likely be in the NRS social grades C1C2DE as the show covers themes "about morals, conflict within a person, issues of trust, discrimination... Such topics seem interesting to those in class C2 just as much as they may appeal to those in class C1, D, and E." To market to people in these NRS social grades, we will make sure that the marketing campaign reaches all towns and cities in England. As well as this, in the proposal, I talked about some of the more modern themes such as "ideas about gender roles and sexual orientation", and I talked in the proposal that these themes more excepted in the younger generations, therefore, we would make sure 'The Space Guard' is marketed in a way that it would reach the younger generation of people. To do this, we will put posters outside colleges and universities, as well as this, we will market 'The Space Guard' on the social media sites that are frequented by young adults, such as Instagram and Snapchat.

As 'The Space Guard' has been funded by the BBC, we would synergy by having the cast members of 'The Space Guard' be interviews on 'The Graham Norton Show' or 'Radio 5 Live' as both are shows by the BBC that interview actors about films and television shows in order to raise the profile and reach of the marketing campaign, as both are shows that are broadcast nationally, and already have a strong fanbase. 

Unit 3- P4 SECOND SUBMISSION

Production Materials for 'The Space Guard':

In the production of 'The Space Guard', I was the director and camera operator. I helped develop the ideas for the overall story, write the script for the teaser scene, and make the storyboards for the teaser scene and opening credits. On set, I was the person behind the camera for all of the shots (on some shots I had some assistance as to get the shot I needed more than just two hands). I also directed the scenes, to get the best performance out of the actors.

 Evidence of me using the equipment:

Me videoing the model

A screenshot from that specific clip of the model. 

Original storyboard panel for this shot.

Here, I am trying to capture the explosion shot of the teaser scene and opening credits. In order for the green screen to be behind the whole of the model, the image needed to be taken from a high angle. Here I can be seen focusing the camera so that the video would be in focus. As it is a high angle shot, I had to make sure the I kept the camera steady so that this part of my media product wouldn‘t be jolting. As the camera was a high angle shot, I needed to sit on the floor as the green screen was to be underneath the model. I chose to use a high angle shot so that after the rush had gone through post-production, the explosion would be seen from above, and therefore the whole damage to the ship would be seen. 

Me setting up the shot for this take.

A screenshot from that specific clip of the model.

Original storyboard panel for this shot.

Here I am trying to capture the opening shot of the teaser scene. I am using the bag of rice as a make-shift tripod as a normal tripod would not collapse so low and I wanted a low angle extreme close-up. To get this shot, we needed 180 degrees of green screen as the shot pans and as the camera moved, the surrounded area behind the green-screen would appear, which was why we needed the camera to be so low as a low camera angle meant that the world above the edge of the green-screen would not be visible. To get this shot we needed two people, lying on their stomachs. One person slowly moved the bag of rice to get the correct camera movement, and the other person was looking through the lens of the camera and would adjust the focus as the camera moved so that the model would remain in focus as the camera got closer to it. I decided to make the shot a low angle extreme close up, as this would be the opening shot of the teaser scene, and a panning close up would allow the audience to understand the setting for the show.  

In this rush, I chose to make the shot an extreme low angle medium close-up as the busy corridor helps to emphasise the panic that the characters are feeling, and the danger that is happening within the scene. I chose to make it an extreme low angle medium close up because only being able to see the feet helps show how frantic the corridor is without having to get a lot of extras to come and make the corridor look crowded. I also used this shot as a transition between the Captain leaving the control room and the Captain walking down the corridor, as through this shot, the audience will be able to understand that the captain is walking somewhere in a hurry. The various different feet walking quickly through the shot gives the audience an understanding of the amount of people that are on the space station, and therefore the number of lives at risk. This is why I decided to use an extreme low angle medium close up of the busy corridor.

Here I decided to use an over the shoulder shot of the the computer so that the audience would have a better understanding of what the characters are seeing when the computer comes up with the error code. I decided to make it a high angle over the shoulder shot to make the audience understand how much of a negative impact the computer error would have on the show, as the audience feel more powerful than the computer as they are physically looking down at the computer. This power then makes the shock of the devastation even greater on the audience when they discover what has happened. The contrast between the audience feeling powerful, to feeling useless helps the audience become more invested in the show. That is why I decided to use the high angle over the shoulder shot of the computer screen.

I decided to make this shot a close up of the captain's face so that the audience can understand exactly how the explosion makes the captain feel. Through the close up, the audience can see the emotions that the captain is feeling, and this empathy makes the character more relatable to the audience. I also used the close up here so that the audience can have a better view at the injury on the captain's face, this makes the captain relatable to the audience as the audience will have at some point injured themselves and they will have more of an understanding what she is going through. The highlighted wound also shows the dangers that have happened in the explosion, which shows the audience the full risk and the dangers that are happening in the show, which makes the show more interesting and enjoyable to watch.

How we worked within the risk assessment:

When filming the model, we had to make sure that there weren't any trip hazards, especially with the camera person lying on the floor to get the low angle shot. We made sure that the large green-screen frame was set up correctly so that it would not fall on anyone, and that there was a clear path around it so that it would not cause a trip hazard. It was also placed in a location so that it would not block ant fire exits.

When filming with heavy equipment we made sure that it was only carried short distances and that the crew who were carrying the heavy equipment would use the lift rather than the stairs. Also that there would be many people carrying small amounts of equipment each rather then fewer people carrying more equipment. When dealing with the lights, any tall, or unstable lights would be held steady by a member of the crew. To change the lights, they were adjusted to an appropriate height before being moved, then had the height readjusted to the correct height. Any personnel that did not need to touch the tall lights were not to.

There was be access to water on site at all times so that if a member of crew, or actor, needed it, they had the ability to get some in an emergency. There was also a break for lunch at an appropriate time, so that the crew and cast could get food.

Some rushes that we filmed:

Rush 1

This clip is for the opening shot of 'The Space Guard', it is a wide angle panning shot so that the audience can get a good look at the whole of the space ship.

Rush 2

This clip is for the opening shot of 'The Space Guard', it is a wide angle panning shot so that the audience can get a good look at the whole of the space ship.

Rush 3

This clip is of one of the opening scenes of 'The Space Guard', it is a medium wide shot of the control desk where the Captain and the Lieutenant discover that there is a problem on board and that there is an explosion. 

Unit 3- P1 SECOND SUBMISSION

Proposal for 'The Space Guard':

The Space Guard 

By Emma Bollans, Rukba Emmarie, & Kadiza Begum. 

Contents page: 

Page 1: Title page. 

Page 2: Contents page. 

Page 3: Purpose and Rating. 

Page 4: Synopsis. 

Page 5: Audience and Marketing. 

Page 6: Style. 

Page 7: Who are we and Budget. 

Page 3 

The Space Guard  

One damaged ship, one courageous captain and one solar system now vulnerable...  

The purpose of the video is a combination of promoting our product and entertaining our audience. The video will include short clips of life on a space station and space itself which helps the audience understand the themes that will be presented in the show. The shots in the video will also give the audience an idea of the setting that the show will take place in. The opening credits will build up the excitement for the episode as well as introduce the main characters that will appear in the show and the teaser will create anticipation as it will show the audience the visual style that the whole show will be. To an extent, it could be suggested that the show is educational since it will touch upon themes about what it means to be an outsider in a society where humans and other worldly people live in harmony in a multi-cultural and multi-ethical civilisation.  

The BBFC rating of the video will be a 15. We think that the rating of the video will be this as the show will contain lots of threat and danger as the characters will be under threat of extra-terrestrial invasion. Under the BBFC guidelines for media products suitable for 15s and over, threat or horror is acceptable as long as there is no prolonged focus on sadistic threat; therefore, the video will be age appropriate for 15-year olds as none of the threat is sadistic. The BBFC guidelines for 15 rated media products also state that dangerous behaviour should not be dwelt upon so that it could be copied, and that it depends on how realistic the dangerous actions are as to if they would be deemed copiable. As the product is set in space, it is unrealistic for the general audiences to be able to copy the sort of behaviour as space travel is not yet accessible to the majority. In terms of the opening credits, there will be no dialogue therefore foul language will not be a problem, but as part of the whole television show, the language may be cause moderate offence, which is justified under the BBFC guidelines for a 15 rated media product. 

The objective of the media product is to attract the attention of our target audience so that they would want to watch the show in its entirety. It is also created to create conversation about the teaser and opening credits so that more people would want to watch it and will encourage others to watch it too. 

Page 4: Synopsis 

In our finished video, the clients will expect to see a two-minute teaser clip (the opening 2 minutes of the television programme) and a one-minute clip of the opening credit sequence containing 6 actor names and executive producer name. This will meet the requirements of the brief as the brief specifies that the teaser must be no longer than 2 minutes 30, and that the teaser should flow directly into the opening credits.  

‘The Space Guard’ is about a space station called The Space Guard and protects the solar system and keeps the peace between the different planets in the solar system. The program will be set in the year 2618 on board The Space Guard. Soon after the teaser starts, there is a small explosion on board and the programme is about the investigation into why the space ship exploded and how they will be able to protect and keep the peace in the solar system while they are vulnerable.  

‘The Space Guard’ will be a science-fiction drama about life on a space station after there was an explosion on it. The genre will be shown through the use of iconography associated with other science-fiction media products; such as the use of setting, costume, and visual effects. The show will be set on board a space station that obits around the sun protecting the other planets in the solar system and keeping the peace between them. The use of using that setting shows the desired genre as it is unique to science-fiction media products. It also allows for the use of science-fiction themed props such as space crafts. The costumes that the characters will wear will show the genre as they have been influenced by the real clothing that is worn by real astronauts from NASA. The use of everyone wearing uniform jumpsuits with different badges for different ranked officers creates verisimilitude in the show as it would represent real life onboard space stations. The visual effects would show the genre through the use of having the space station orbiting alongside the other planets in space. The visual effects would show the genre through the use of specific transitions in the editing process that would reflect the genre through it links to other science-fiction media products.  

We plan to show two main characters of ‘The Space Guard’ in the teaser and the opening credits. The first will be Captain Crain, the captain of The Space Guard ship; the other character will be the second-in-command of the ship. These characters will currently be played by Emma Bollans and Rukba Emmarie but this is still subject to change. Both characters will be strong and courageous; trying to solve the problem of the explosion as efficiently as they can. One of these two characters will have a serious headwound to show how they are prioritising their crew and their ship before themselves and to show their ‘badass’ nature. 

The editing of the product will link the teaser directly into the opening credits. The transitions will be inspired from other science-fiction media products, and the plan is for any text across the screen to look robotic like it was written by a computer; perhaps with an artificial intelligent brain. The editing process will also include the visual effects that we plan on adding, such as the explosion to the space station as well as chroma-keying the greenscreen away from out footage so that we can have a space station that is actually in space. 

Page 5: Audience and Marketing and Distribution.

Our product is targeted broadly to an audience who are interested in the science fiction genre since the product will have sci-fi conventions such as exploration into space. We hope to cater to people within the NRS social grade C1C2DE, since the show will cover themes of being an outsider which those in social grades E and D may relate to. Also, our targeted age group are those between 17-21 years of age and most people within that age group will fall under social grades of E or D since they are typically unemployed or working in jobs that require little skill.  The teaser will include scenes of conflict and drama that may entertain those in these social grades and age group. Additionally, BBC 3 aims to create programmes that connect to 16-34 year olds, which means it is ideal to have our target audience within this range because there is a likelihood that people from our targeted age group will tune into the BBC 3 channel. Seeing as the show will be aired on BBC 3 it makes sense for our target audience to be living in Britain. 

Those in social grades C2 usually are people working in skilled jobs that require higher education, meaning that typically they would enjoy products with more complex themes and ideas. ‘The Space Guard’ intends to approach ideas about morals, conflict within a person, issues of trust, discrimination and ultimately humanity. Such topics may seem interesting to those in class C2 just as much as they may appeal to those in class C1, D and E. In addition, the teaser and opening will incorporate conventions of science-fiction which leads to there being scientific information used in the show, this kind of knowledge may be familiar to people in class C2.  

The teaser and opening aren't gender specific. Having non-human characters gives the opportunity to express ideas about gender roles and sexual orientation which indicates that our target audience will need to be open minded. It Is more common for those between the ages 17-21 to be more accepting to new concepts than the generation above them.  

We will also have to cater the marketing of our product to our target audience. Our target audience is most likely to have social media such Instagram, Snapchat. We could use parts of the teaser and upload them as advertisement post on Instagram, like how other BBC shows such as ‘Informer’ has done so. The opening sequence could be posted on the BBC official snapchat and could appear as advertisement between snaps.  As the programme is to be distributed on BBC 3 (a completely online channel) we will put the teaser scene as an advert before other programmes on BBC 3, as well as via other online channels such as iPlayer, and social media. 

Page 6: Style and Time 

As the genre of our product is science-fiction, we plan to use lots of special, visual, and sound effects in order to create strong verisimilitude within our product. Some example of this include the use of green-screen and chroma-key in After Effects to create the illusion that our scale model is in space. As well as this, we plan to create “aliens” through the use of prosthetics and makeup, and the use of masking in After Effects. Additionally, we will composite multiple layers of footage together in several scenes, like in someone looking out the window to space, or to make a corridor more crowded.  

The style of ‘The Space Guard’ is influenced by ‘Sherlock’ and ‘Lost in Space’. We plan to use different contrasting shots such as low angle medium shots and wide-angle establishing shots in order to create our style within the show. Our style is mostly based on contrast: contrasting colours, black and white; contrasting camera angles, close-ups and wides; contrasting themes; and contrasting the fast-paced teaser full of action with the slow opening credits. In terms of mise-en-scene, contrast will also be shown here as the lighting, camera angles, and positioning of the subject on screen will contrast each other and the shots.  

For the editing of the opening credits, we plan to use a “rolling” transition where lots of stills will slowly move on screen and flow off in jagged shaped “boxes” with the credits on top of the still and the short clips. In terms of the teaser, we plan to not use many transitions (only before the explosion of the space ship); instead, we plan to use mostly jump-cuts and regular cuts to create a seamless flowing teaser. 

Page 7: Who we are and Budget  

At Emma-ree Productions, we work to make sure that our products are engaging for our audiences, and fit our clients' needs perfectly. We have three people work at our production company; Rukba Emmarie, our company’s Project Manager; Emma Bollans, our company's Creative Oversite Manager; and Kadiza Begum, the company’s production assistant.   

In order to make ‘The Space Guard’ we request a budget of £10,947. This will cover the full cost of the equipment, the actors and other assets, the editing software and visual effects, the distribution, as well as our service fee.  

                                       

BUDGET
Programme Title	The Space Guard
Client	The BBC
Writer(s)	Emma Bollans, Kadiza Begum
Producer	Ms C. Devlin
Director(s)	Emma Bollans, Rukba Emmarie
Editor(s)	Emma Bollans, Rukba Emmarie
Date	14/03/19-22/03/14

  

MATERIALS	COST	TOTAL
Filming Equipment for 3 days.	£210 p/d	£630
Lights for 3 days.	£28 p/d	£84
Dolly for 1 day.	£100 p/d	£100
Green Screen for 3 days.	£120 p/d	£360
Additional Battery for 3 days.	£10 p/d	£30
Make-up for 2 days.	£100 p/d	£200
Liquid Silicone for one applicant for 2 days.	£5 p/a	£10
Scar Wax for one applicant for 2 days.	£7 p/a	£14
Fake Blood for one applicant for 2 days.     Coagulated Blood for one applicant for 2 days.	£5 p/a        £7 p/a	£10        £14
Production Manager for 3 days.	£350 p/d	£1050
Producer for 3 days.	£280 p/d	£840
Director for 3 days.	£280 p/d	£840
Camera Operator for 3 days.	£250 p/d	£750
Sound Engineer for 2 days.	£276	£552
Production Assistant for 3 days.	£150	£450
5 Actors	£100 p/h per actor	£6000
Make-up Artist for 2 days.	£80 p/h	£320
TOTAL = £11,414