How To Improve Our Media Texts

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

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

What have you learned from your audience feedback?

In these three videos, I tried to give an honest reflection of our media pieces and how I think they could be improved.


How Our Media Products Have Changed

What have you learned from your audience feedback?

Here is the progression of our magazine cover. As you can see from the first couple of images, our core idea remained the same- despite the rapid increase in quality in the latter stages. Whilst the first two images were drafts- it is important to see that by switching to Adobe Photoshop (an industry standard editing tool) we were able to vastly improve our pieces quality. For a more in-depth discussion as to how each version incrementally changed- please click here.

This was the very first version that we released, but a lot of the foundations were laid down in this version. The feedback that we obtained stated that some of the dialogue and shots were not up to a high enough standard, the dialogue needed to be recorded in a professional studio and the titles needed to be redone to conform to the noir genre more. The full list of feedback we obtained can be found here.

In this version, we changed:

  • The logo of Fibonacci Films to have a more professional look
  • The voiceovers were now dubbed and recorded in a professional studio to remove the unnecessary background noise
  • Refined the music transitions

We still planned to reshoot the bedroom scene and the gun scene at the end, to ensure that our film fulfilled the visual conventions of noir. We obtained some more feedback on what to improve, which can be found here.

In this version, we changed the following:

  • Some of the shots at the beginning of the trailer were refilmed to conform to the visual conventions of noir. This made the trailer look more effective in terms of our brief
  • We added some background noise to the scenes that have dubbed voiceovers. This was to make the scenes sound more natural within their given context
  • We shuffled around some of the shots in the trailer to make the narrative more fragmented
  • We changed the titles to have a darker background, once again in a move to conform the visual conventions of the genre
  • Increased the frequency of shots at the end of the trailer to reflect the pace of the music
  • Added some more shots in the block at the end to fill the gap that we had
  • Ensured no voiceovers clashed with the titles that were on screen

In the final few versions, we intended to do the following:

  • Film some final shots to go in the remaining gaps we have
  • Tighten up the music transitions
  • Add some more background noise to the shots that still need it

This was very close to the final edit of the trailer. In version four we:

  • Filled in the gaps that were present at the end of the trailer
  • Tweaked the voiceovers
  • Attempted to change the order of shots to make the trailer feel less linear

In this final release version, we:

  • Tweaked the order of some titles
  • Perfected voiceovers that were too loud or too quiet
  • Changed the colour palette¬†of some of the brighter scenes to make them conform to the visual conventions of noir
  • A new voiceover was added over the shot of Hans’ feet to make the plot clearer for the audience

Therefore, it is clear to see that our trailer grew substantially in quality throughout the five versions. The feedback we obtained allowed us to improve greatly to produce the best trailer possible.

Much like the magazine cover, the quality of our drafts drastically improved as time went on. However, unlike our magazine cover; we did change our idea. We initially had planned (and took photos) for Mark to be on the cover with a kiss from Rosette on his cheek. We planned to photoshop a web in his eye (symbolising the Widow’s ‘Web’) and had drafted a few versions of this with an effect behind him. Although, after some personal reflection of these drafts we decided that if the film was to be called ‘The Widow’s’ web, it would be more appropriate to have an image of her on the cover instead. So, we went back to the drawing board and took some photos of Rosette to use instead. We then used this to create the poster that can be seen above. We experimented with a few taglines but settled for “Lies are spun, the truth will never be free”. In the final version of this cover, we improved the quality of the lips to make them appear more realistic. A more in-depth look at the production of this is to follow.