What I’ve learn from ‘podcasting as a distinct medium’ book

Page 24:

Podcasters still used traditional protocols associated with [radio] broadcasting. E.g. DJ Banter, back announcing and talk show format. This suggests podcast still follow the traditional radio format even though we’re not using the same delivery technology like we used to. 

Podcasters have more freedom of controlling their contents, as they don’t have to get an approval from commissioners and follow the rules that are set by producers.

Based on (Podcasting as a distinct medium) survey:

  • 3% self-identified of someone who makes ‘radio’
  • 49% described their activity as making podcast
  • 32% making media content
  • 14% entrepreneur

In conclusion: podcast is 16 times more popular to create than radio. Nevertheless, I’m quite interested in who was involved in this survey, where did they asked these people and when. This is because survey can have different respond from people depending on different environment, time and space,

Page 27:

Bill Gates (the road ahead, 1996) suggests ‘new media transfer content over from other media’ This implies podcast is a development from radio. In addition, you can see how other form of media can influence professions. E.g. Graham Norton who is radio presenter and TV presenter. Therefore, podcast can be cross over with Video-On-Demand. For example Vox media created plenty ‘Explained’ podcasts. Now, they started to create video contents on Netflix too.

Gates also suggests that content must be authored for the space. E.g. niche in the market. For example, Vice media would specifically target young adults. In addition, majority of new form of media target markets are aiming at younger audience. The most successful one is Disney company, who started Disney+. Many people believe they will rival Netflix and Amazon in the future. Which is possible as Disney have access to top grossing franchises e.g. Marvel and Star Wars. Nevertheless, Disney+ do have a limitation, as they can’t produce something like 18+ or have a content that kids can’t watch. On another hand, that wouldn’t stop Disney from making money because the bidding war with Netflix and Amazon of having rights showing contents for adults can be bid through other Disney’s sub company like Hulu. Whom have a target market of 18-49. This Video-On-Demand will reflect the future of podcast too. On which platform will gain the most audience, is it going to be Spotify, YouTube Music, Apple, Deezer or other that have not been discover yet? Who knows Disney might ended up being a parent company for one of the audio platform or ended up creating one.

Fun facts from https://medium.com/the-business-of-content/inside-vox-medias-podcast-strategy-9dc63f2820b7

‘The Interactive Advertising Bureau recently estimated that podcast industry revenue grew by 53 percent last year and is projected to reach $1 billion by 2021.’ (2019, S. Owens) This maybe effected by Covid-19 positively and negatively because look at Netflix, they’ve gained more viewer due to lockdown. This may have a mirrored effect on audio platform. Nevertheless, audience may consumes more video than audio. As some audience are listening to audio when they’re doing task along the way.

Later S. Owens (2019) suggests ‘Vox Media, which over the past few years has launched over 150 podcasts on topics that include technology, politics, and sports. The audio medium is now an eight-figure business for Vox.’ Vox able to exploit that niche market so well, that is has become very popular that they have started to create video contents on Netflix. This link back to Gates’ ideology of media borrowing content from other media. However, it is not just borrowing but media company are trying to expand their conglomerate empire to as many platforms they can, to gain the most customers, whom will help them gain the most revenue.

Positivity of coronavirus.

Going back to uni for 2nd year is a strange one this year.

Last week we had to do a group seminar on Microsoft Teams, which is like a professional version of Zoom.

Good thing about this is I don’t have to get ready to go out. Don’t have to go through the rainy, windy and cold autumn weather. Save me a lot of time because no travelling. Can listen to our lecturers speaking what we’re going to be doing this year comfortably, whilst I’m here on my sofa drinking my warm tea.

Nevertheless, it is too comfortable that 1hr talk starting to make me feel sleepy and getting tired way to quickly.

To be honest, I don’t even know if I will be here writing this blog if I didn’t come out of my house. There are too much distractions at home!



Video Games







and many more… I think.

But look on the bright side! Maybe this is the moment where I have to train myself to work at home, just incase there is a new virus awaiting to be released on Earth again in a decade or so.

I can’t keep going to library forever, right?

Also, I need to start training myself to be more productive at home. Every time I am at home I switch my mode to chill out mode way to easy.

Editing 2.0

In today’s lecture we will learn about how to interpret the assessment brief, what we need to do and how to do well.

Assessment 1: Portfolio

Brief 1: Deadline 16/3/20 by 4pm50% toward the unit.

  • Starting 17/2/20 we will be supplied with 2 pools of pre-recorded audio and visual documentary materials.
  • We will need to attend our session with Graeme that week to ensure that we receive the footage.
  • We should review the 2 pools and pick one to create our edit.
  • Using post-production software we will edit, order, layer and mix the audio – visual content to produce one film of approximately 3 minutes duration video clip which will form the main part of the assessment submission.
  • The evaluation of our work will focus on these basic competencies including using the FCP (Final Cut Pro) software to produce an edit that demonstrates:
  • Narrative cohesion
  • Continuity principles
  • Appropriate shot selection
  • Transitions
  • A coherent sound mix
  • Form should follow function
  • E.g. Our decisions should be appropriate to the content and the tone that we want to create with our film so that we have an integrated aesthetic.

Integrated Aesthetic

  • Narrative cohesion: The film we produce should make narrative sense.
  • Continuity principles: The film should respect continuity principles. Our editing should not be too noticeable, if these are broken there should be a compelling narrative reason.
  • Appropriate shot selection: Not all of the footage is suitable; so you need to select it carefully and in a way that helps to power our story forward.
  • Appropriate transitions: We should be cutting at appropriate times and using appropriate types of edit.
  • A coherent sound mix: Sound is often neglected but we should layer our sound mix so add to the aesthetic and integrate sound with aesthetic.
  • Integrated means that the edit we produce should have a consistent tone and feel, that is organic and sinuous.
  • FCP arguably makes it too easy to produce something hyperactive and heavy-handed.
  • However, hyperactive is admittedly an integrated aesthetic.
  • It’s better to do something that is easy to watch and that has rhythm and flow and feels natural rather than forced or an assault.


  1. Review and rank footage putting an emphasis on narrative and tone.
  2. Organise footage into bins.
  3. Rough cut.
  4. Fine cut.
  5. Manage audio.

Supporting Documentation

  • We will be expected to provide a critical reflection of 1000 words.
  • It should talks about the reader through our creative and organisation decisions and workflow.
  • It should also include illustrative supporting documents showing how we have done the following:
  1. Organised the material to tell a coherent story with a coherent tone.
  2. Used the software and explaining our creative choices along with any appropriate legal documents.

Structuring the 1000 words:

  1. Introduction: Explain our approach and what tone I’m aiming for.
  2. Organisation: Explain how I organised my material with an emphasis on story and tone. Use secondary materials.
  3. Creative Decision: Explain specific creative decisions that contribute to the tone of my film. Use secondary materials. Show and illustrate how I have done this. Provide specific examples from my film. This might include discussion of specific sequences, specific cuts or sound mix.
  4. Explain what I think works well and what I need to work on, to allow it moving forward.

Illustrate my workflow and decisions by:

  • Screenshots of the FCP interface.
  • Screenshots of my film.
  • File structure/organisation.
  • Post-it notes on my wall.
  • These ought to be labelled clearly and I should refer to the images (don’t make them just cosmetic).
  • The more I interface the more detailed my analysis can be.

File structure organisation

Timeline close-up

FCP audio J cut close-up

Things to consider:

  • Most importantly 1000 words is not a lot so we will need to be super efficient.
  • Try not be mechanical.
  • And do not try to be ‘by-the-numbers’.
  • Show rather than tell.
  • Don’t say things that could be said about any other film. My film will be original make my critical reflection original too.
  • Use terminology that makes me sound like an editor.
  • So be aware of the correct terminology for shot sizes and types of edit / transition.

This is how we’re being marked:

Technical Competence

  • We must demonstrate that we have acquired and developed technical skills to tell a coherent story using Final Cut Pro (FCP) software.
  • We must work to eliminate obvious errors by showing attention to detail in producing a coherent timeline and sound mix.
  • We should work to produce an edit that is organic, fluid and sinuous.
  • We could – where appropriate – include the use of music, titles, graphics and make use of further additional applications within the FCP application.

Professionalism and preparation

  • We must attend class regularly.
  • We must do appropriate preparation working outside of class to practise our editing, review the footage and produce our edit.
  • We must do appropriate preparation working outside of class to research our supporting documentation and produce our supporting documentation.
  • We should go through a number of drafts of our written component.
  • We should go through the recommended steps in producing our edit.
  • We should use the skills we learnt on this unit on our two parallel units.
  • We could watch a range of shot and log documentary films considering how they are edited to help you become sensitive to edit in this format.


  • We must produce an edit of approximately 3 minutes in length that communicates a coherent story.
  • We should consider the possible stories that are baked in the footage supplied and make creative editing decisions to communicate our story.
  • We should be sensitive to the tone of our story and – on this basis – make appropriate decisions about our edit in terms of shot selection, story, pacing rhythm etc.
  • We could consider how to make our own edit distinctive through our creative decisions.

Supporting Documentation

  • We must produce 1000 words that reflect on the storytelling and creative decisions made in our edit.
  • We must engage with secondary materials.
  • We must reference appropriately and include a bibliography.
  • We should focus on the tone that our edit is aiming for.
  • We should illustrate our portfolio with images and screenshots.
  • We should justify our decisions in terms of the documentary / factual genre and the tone our film is aiming for.
  • We could restrict our secondary material to editors working in the industry.
  • We could focus exclusively on one aspect of our edit i.e. sound mix, pace, rhythm etc.

Quick reminder: on Monday of week 8 is dedicated to how to do well in assessment!

Editing terminology:

  • Cut
  • Dissolve
  • Fade
  • Wipe


  • Cutting on action – cut from one shot to another, whilst the subject is on action.
  • Cut away – cut into an insert shot of something and cut it back.
  • Cross cutting – cutting back and forth.
  • Jump cut – cutting in the same shot, show the passing of time.
  • Match cut – cut from one shot to a similar shot, through action or composition (sometimes it can be cut based on audio).


  • Fade in / fade out – dissolving into or out of black.
  • Dissolve – blending one scene to another.
  • Smash cut – erupt transition.
  • Iris – open or close a circular hole into the subject.
  • Wipe – can come in any shape, but there would be a clear boundary line to separate one scene from another scene.
  • Invisible cut – move from one scene to another thought black, camera movement or object moving across the frame.

Sound transition:

  • L cut – is an audio based transition, when an audio from one shot moving on to another shot.
  • J cut – is the same but you can hear the sound before the shot.

You can be very creative by combing them together. This is called ‘creative combination‘.

Here are some quotes about cuts and transitions:

  • ‘The most common means of joining two shots in the cut’ (Bordwell and Thompson, 2008, p.219)
  • ‘Cuts are perceived as instantaneous changes from one shot to another’. (Bordwell and Thompson, 2008, p.219)
  • ‘A dissolve briefly superimposes the end fo shot A and the beginning of shot B’ (Bordwell and Thompson, 2008, p. 218-9)
  • A ‘dissolve indicated a brief, indeterminate… inconsequential passage of time, either within a scene or to a scene that shortly followed’ (Monticone, 2016, p.61)
  • ‘A fade-out gradually darkens the end of a shot to black, and a fade-in accordingly lightens a shot from black’ (Bordwell and Thompson, 2008, p. 218)
  • ‘A fade to black signalled the end of an “act” and presaged a lengthier temporal gap’ (Monticone, 2016, p. 61)
  • ‘In a wipe, shot B replaces shot A by means of a boundary line moving across the screen’ (Bordwell and Thompson, 2008, p.219)
  • Wipes were the functional equivalents of dissolves, denoting brief ellipses, but they better maintained a fast pace and were thus thought appropriate for comedies and action films’ (Monticone, 2016, p. 61)

Online 1.1

For AE1: Web design and personal branding package. Deadline is on the 5th April, 4pm.

The requirements of this project are:

  1. To evidence the development and prototyping of a design for a portfolio website that incorporates graphic design, visual communication and image manipulation techniques using industry recognised software applications.
  2. To editorialise written copy and media content, text, image, sound and video assets for search engine optimisation (SEO).
  3. To showcase our personal and professional brand through design and personal branding.
  4. To showcase work undertaken on our level one course units including video, radio, photography as well as extra-curricular work experience related activities we have undertaken under our own initiative, or any new work that we may choose to create especially for this project.
  5. To evidence an ability to apply conventions of design and visual communication to the development of a prototype website design considering user experience as a primary principle that aims to create a coherent user experience.


  1. A clickable working prototype submitted in the form of an Adobe XD file and associated assets uploaded to SOL.
  2. A portfolio of supporting evidence in the form of a series of blog posts that can include sketches, reasoning, audience targeting, creative research, ideas development and other evidence that showcases our process of developing, designing and prototyping our creative work.
  3. The submission of the portfolio will take the form of a PDF with links to individual blog posts that have been annotated with brief critical reflections that explain the content and reasoning behind each post.

This is how we are marked:

Technical competence:

  1. We must demonstrate that we have acquired and developed a minimum standard of technical skills.
  2. We should demonstrate that we have mastered the technology by building an effective clickable prototype and brand design.
  3. We could evidence advanced technical skills by developing a sophisticated and consistent brand imagery using a variety of software.

Professionalism and preparation:

  1. We must plan and deliver the project in timely manner.
  2. We should evidence precision and great attention to detail. We should proofread our work carefully avoiding mistakes.
  3. We could gather peer feedback and informed by it, further perfect our work.


  1. We must select appropriate material to include in the prototype and decide on the ordering of it.
  2. We should show that we are able to select and sequence material to communicate our brand story effectively.
  3. We could construct a compelling brand design, targeting a specific audience.

Analytic Imagination:

  1. We must evidence an ability to unify technical elements with analytic and critical sophistication.
  2. We should demonstrate that we can apply graphic design principles in our prototype and other brand materials such as CV and a business card. Ideally, there should be clear intellectual underpinning to production submissions that inform and shape technical execution and aesthetic.
  3. We could evidence an informed engagement with current graphic design trends and theory. Our production work could evidence a highly commercial, aesthetic or intellectual value that either pays homage to, comments upon or advances debates in the field.


  1. We must show evidence of creativity and imagination going beyond the familiar.
  2. We should evidence a flair for creative fresh and engaging design.
  3. We could evidence ambition and innovation in our creative conceptualisation.

In today’s lecture, we learnt about Graphic Design:


  • Combines speech, written language and images into a message.
  • Design can persuade, inform or instruct.


  • Signifier – The form of a sign. The form might be a sound, a word, a photograph, a facial expression.
  • Signified – The concept or objet that’s represented. The concept or object might be an actual pipe, the command to stop, or a warning of radioactivity.
  • An interpretant – is it what the audience makes of the sign.

The skull and crossbones associate with danger. It is commonly seen imprinted on containers of hazardous substances. It is also believed to be the symbol on pirate flags. Historically, the skull and crossbones design was used by the Spanish to designate cemeteries. Maybe that’s why pirates chosen this design because its association with graveyards and death.

The creative process:

“It is essential to begin by looking at the problem from all angles and then define the most important aspects of the problem.”

– Hembree (2008, p.41) The complete Graphic Designer, Rockport Publishers.


  • The client – history, core values, unique selling point (USP) – client meetings.
  • Target audience – study the target audience (segmentation) and ads that target the same audience.
  • How will the target audience benefit from the offered service/product.
  • The clients industry – the competition.

Creative Brief:

  • Budget and deadlines.
  • What is the specific problem.
  • Overview of the client.
  • Business and design objectives.
  • Target audience and demographic.
  • The competition.
  • Creative approach – the visual problem and the steps to solve them.

Brainstorming and sketching:

  • Mind maps.
  • Idea trees.
  • Use dictionaries and thesaurus – word definitions can be inspiring
  • Combine different ideas
  • Sketch – visualise the ideas

“The secret of all effective advertising is not the creation of new and tricky words and pictures, but new of putting familiar words and pictures into new relationships.”

– Leo Burnett

This was a challenge set by my lecturer. So, I created this.

These are the stages we should follow to help our design development move smoothly and effectively.

Video 1.0

This is CUP410/Video Production Craft & Process. My lecturer is Martin Hughes.

Martin Hughes is our Video Production / Unit Leader. Whereas, Frankie Murdoch is just our Lecturer Video Production and teaches us how to use the equipment with Ian Williamson.

Our Agenda are:

  • Understand Course: SOL – Outline – Features and Expectations.
  • Prepare to meet client(s)
  • Group work
  • Group forming
  • Work Packages
  • Understand the use of blogs and seminars
  • Introduction to concept of risk
  • This FRIDAY 24th JAN LT1 – 1PM, someone from Railway will give us a brief about the MHR.

Learning outcomes:

Understand the principles underlying collaborative working, be able to differentiate between group and team working, be familiar with the unit outline, the concept of risk and project working.

Our activities for today:

  • Complete group/team working contract
  • Review previous student work for MHR
  • Review MHR resources
  • Review client aims and objectives
  • Introduction to concept of risk (including the difference between H&S and project risk)

Outputs: We should be in a production groups and they have produced/sign group working contracts.

How will we work and be assessed?

  1. We will work in groups for the pre-production and production.
  2. We will submit an individual edit of our group’s “Work Package”.
  3. We will submit and accompanying paperwork as AE1 – Deadlines on SOL.
  4. Client viewings and importance of viewings (reference to course outline).
  5. Indicative schedule.

Remember AE2 is an individual Critical Reflection (it will be supported by formative blog tasks).

MHR expectations is for us to be safe during filming, and promote the station at our best ability.

Our expectations is to able be safe and warm during the shoot. Also, to get the highest mark. Therefore, we need to able to utilised on what we have, the most we can.

Our films will be published on their YouTube channel. Therefore, we need to make sure is suitable for the audience to view, simultaneously, attracting their attention.

After reviewing previous student work for MHR, I can see what we can do to make our video looks good. In addition, it also give me clues of the common mistakes and what to avoid during filming.

At the same time, I also viewed other professional works. I can see that the video that able to do the basic correctly, are the one with the most viewed on their channel.

Our plan is to liaise with our client to prepare and research for our film:

I cannot believe my eyes that 1 hour train YouTube video gets over 50 million views. However, their framing was very fascinating, their was barely any camera movement, the quality was like 4K! Again, it is about doing the basic correctly. But 50 million views on train though… what the?!

On 7th February is our Reece day. Therefore, we get to go and observe everything. However, on the day we didn’t get to meet Jamie. But we did have a quick tour guard and have a better understanding of the station better.

Also, our shooting will be on the 6th March. We also going to tried get some archive footage after the shoot.

We been asked to form a group. As a result, I am with Ali, Charlie and Dean. It seems like this should turn out really well because me and Ali already worked together for Audio and we got a really good grade for it. Therefore, we already have that chemistry going already. Later, we only need to sign the group working policy and document. Scan and send it to Martin Hughes, whom is our lecturer.

What do we mean by risk in documentary and factual?

First I thought it’s about censorship, legal threats, surveillance or brutal repression. But it turns out to be H&S like falling objects and equipment on people. This maybe because the topic at MHR isn’t that serious.

How is corporate filmmaking different from documentary?

A documentary film is a nonfictional motion picture intended to document some aspect of reality, primarily for the purpose of instruction, eduction, or maintaining a historical record. Fun fact: a documentary film that runs 40 minutes or longer would be a documentary feature film.

What roles are needed?

  • Producer
  • Researcher
  • DoP: Director of Photography
  • Documentary Sound Designer
  • Writer
  • Camera Operator

Ali will be taking the role of the producer. Dean will be the sound engineer and designer. Charlie will be the interviewer. Whereas, I will take the role of DoP and Camera Operator. This is because I feel like this is my biggest weakness at the moment, as a media student. Therefore, this would be my best opportunity to improve it!

What are the common elements?

  • Voice-over
  • Direct and indirect interviews
  • Archival footage
  • Montage
  • Reenactment
  • Exposition

What will clients be looking for from you?

  • Strong work ethic
  • Dependability and responsibility
  • Positive attitude
  • Adaptability
  • H&S for you and everyone around you

Video 1.1

We learn on how to set Canon XC15 properly and safely, B-rolls and basic shooting of compositions and framing.

Keep this in mind: to make a non-living object relatable to the audience is to create a connection through relationships with human around the subject!

Editing: Post Production 1.3

This session will be about editing and post production workshops. It will be held at JM006. It will includes informative, practical and help take the mystery out of audio-visual / time-based storytelling. My lecturer is Graeme Herwig.

Session 1 – Prologue

There is no way to edit a film correctly. Ten different editors would construct ten different versions of the film. Some edits might be similar, but no two would be alike. Editing is an elusive art – when done well, the audience will be so absorbed that they might not even be aware of the techniques used.

Also, there is no way to tell a story correctly. Ten different storytellers would construct ten different versions of the story. Some stories might be similar, but no two would be alike. Storytelling is an elusive art – when done well, the audience will be so absorbed that they might not even be aware of the techniques used.

What we will cover

We will explore several types of production, the relevant workflows & thought processes that we need to build our craft. We will work on both factual and fictional material, in a range of styles:

  • Promotional
  • Informative
  • Documentary
  • Poetic
  • Narrative Drama

Threads to build our storytelling practice from:

  • Craft & Theory: How to approach, judge and make an appropriate edit to tell a story.
  • Professional Practice: Workflow & standards, how we arrange and manage our work for different types of projects.
  • Technology: Software knowledge, equipment, delivery & standards.

Craft & Practice

There is a symbiotic relationship between filming and editing, you will find engaging in both practices will inform the other.


Story or meaning is constructed in the mind of the audience, from what the Editor presents – no person will experience precisely the same story, indeed; the meaning of the same story can change over time even for the same viewer.


Best practice & approaches for different types of projects.


How we arrange and manage our work.

Software knowledge

How we work the tools, frame rates, editing visuals, working with sound & color grading.

Skills learnt for Final Cut X can be transferred to other applications, e.g. Adobe Premier & Avid.


Hardware considerations.

Delivery & Standards

Codecs, formats, resolutions.

3 things that we learnt during class today:

  1. Shortcuts for Final Cut X: to allow our editing process run quicker and easier.
  2. Cutting on Action: to help the video flow better and to help the audience follow the story better.
  3. The Rules of Six: Emotion, Story, Rhythm, Eye Trace, 2D plane of screen and 3D space.

Graeme advises us to read these books, if we want to get better at editing.

Online and Profession 1.0

This is the Online Production and Professional Practice. Our lecturer is Louise Morrell, she will be working alongside Maja Hill to help us develop ourselves professionally and through the assignment for this unit.

To have a career goal will help me pursue the career of my choice. My first step has already begun by starting this course at Solent University. Once I have defined my career goal, it will help you to come up with effective plans of action.

Career goals should be kept realistic to keep yourself motivated and determined to achieve my dreams.

Here are some examples of career goals:

  • Networking
  • Enhancing my skills
  • Learning new skills
  • Gain experience through work
  • Improving my confidence
  • Being more proactive
  • Growing my network
  • Managing my projects
  • Getting that dream career

What is my career goals?

My career is to get involve in media industry, especially filming because that would be a blessing. Therefore, I need to start making a lot of videos to build up my portfolio and attracts people who are like-minded.

What is my desired career?

My desired career is to get involve in a projects that would make a positive impact to the world. For examples:

  • Make documentaries to help endangered animals.
  • Create adverts that would raise awareness of our negative actions (global warming, mental health, and etc.) towards the world.
  • Design an app to make people better mentally and physically.

Editing seminar 1.1

Jamie is also our lecturer for our seminar. In today’s seminar we will be introduced broad themes on this unit and expectations. We will also look especially at the question of screen style and form and why it is important.

For this unit, our aims:

  1. To complement our work on the parallel video unit through discussion of screen style.
  2. To introduce us to the importance of software in the video production workflow.
  3. To introduce dominant and alternative ways to order/edit material and use other software applications.
  4. To teach us the technical skills of how to use the software.

The softwares we’ll be learning throughout this degree are:

  • Avid
  • Premier Pro
  • Final Cut (this year)

Content refers to:

  • Themes
  • Genre
  • Characters / participants
  • Plot / format
  • Location

Soft Style lighting:

  • ‘A soft, flat frontal light works to eliminate the wrinkles that may be more apparent with side lighting… it would be counter-productive to use this technique on a man’ (Keating, 2010, pp. 36-7)

Whereas, this is more classical, realism, pictorialism, and glamour.

Image above is Marlene Dietrich, the lighting has shown how much lighting can change the appearance of the subject.

Soft lighting, is often use for the subject so the audience can feel sympathetic.

Hard lighting

This is more hard lighting, as we can see the wrinkles and jawline more on the actor’s face.

Hard lighting / high key lighting often use on male or masculine subject, to focus more on expression.

It can signifies evil, strength and power.

Expressionism… reacted against realism and turned toward extreme distortion to express an inner emotional reality rather than surface appearances’ (Bordwell & Thompson, 1994, p.109)

Expressivists – who create expressive effects at the cost of glamour and clarity.

‘Making things strange, unexpected therefore puzzling and arresting’ (callow, 2007, p.363)

One-point perspective is a way of crafting cinematic shots with near-perfect symmetry. The composition of these shots draws the viewer’s eye to a specific focal point within the frame, absorbing them into the dimension of the shot and manipulating the experience by telling them exactly where to look. It also elicits an emotional response, typically of uneasiness or dread.

Foreground (FG), Mid-ground (MG), and Background (BG) can easily be separated. With the support of how the line of the framing is set.

Image System

Image system ‘refers to the use of recurrent images and compositions in a film to add layers of meaning to a narrative’ (Mercado, 2013, p. 21)

‘Image systems can be very subtle, repeating shot compositions, colors, and imagery in ways that are not easy to notice at first but are nonetheless internalised’ (ibid)

They can be too subtle. ‘to create an image system you must first identify the core ideas of your story, its main themes and motifs… once design an image system that supports your core ideas. (ibid)


Editing lecture 1.0

1st day back to 2nd semester!

Not going to lie I do feel a bit broken coming back to the UK after 3 weeks in Thailand with my family over the Christmas holiday. But what can I say? I just have to keep hustling! Also, I feel pretty excited coming back because I feel like my creativity is a bit rotten up after eating too much food and too much spa and relaxation. Can’t wait to challenge myself!

So in today’s seminar we had a level 4 briefing of the second semester.

We have been introduced who is our course rep are and also who is the best person to approach when we need help in the future. For now, it’s Morgan Warren, Carmel Wolley & Andrew Menhennet for course reps. Also, Matt Lea is our Level 4 Tutor and then there is Roy who is our Course Leader for like a really serious situation.

This is the structure for my course at Solent University.

For this semester:


• Jamie Clarke & Graeme Herwig are the lecturers for this unit.

There are two pieces of assessment on this unit as follows:

AE1 Portfolio 1 – Your own edit 3 minute edit of pre-recorded documentary footage with an accompanying 1000 work justification. Hand in: Monday 16th March by 4pm.

AE2 Portfolio 2 – Your own edit 3 minute edit of pre-recorded fictional footage with an accompanying 1000 word justification. Hand in: Friday 24th April by 4pm.


• Martin Hughes & Frankie Murdoch are the lecturers for this unit.

These two assessments are what we will be undertaking on this unit:

AE1 Practical: Plan, produce and edit a short (Mid Hants Railway) corporate video of 3-5 minutes duration to a professional standard following instruction provide by your tutor – deadline 4pm, 3/4/2020

AE2 Critical Reflection: individually write a short critical reflection on the creative process (1500 words +/- 10%) following guidelines provided by your tutor – deadline 4pm, 24/4/2020 [40%]


• Maja Hill & Louise Morrell are the lecturers for this unit.

We will be undertake two assessments on this unit:

AE1 Website: a clickable working prototype for a website designed by you with supporting documentation – deadline 4pm, 5/5/2020 [60%].

AE2 Presentation: a pre-recorded vlog and live presentation – deadline 4pm, 26/5/2020 [40%].

However, for this year we’ll just be designing and mock up my personal brand and website. Whereas, next year we will focus on personal brand and website live online. Also, we need to prepare £20-£30 for domain and hosting. However, I’ve already done a website and it has a domain. But there is still some room for developing my website.

This is what we’re meant to be doing.
This is what I will be ended up doing.
Just in case, I wanted to be a better version of myself. Because we always have a choice.

How is my degree calculated?

The best 100 credits at Level 6 (weighted 70%)

+ the best 100 credits from Levels 5 and 6 (weighted 30%)

Classification boundaries:

69.5% or more: First Class

59.5%-69.49%: Second Class (First Division) i.e. 2:1

49.5%-59.49%: Second Class (second Division) i.e. 2:2

39.5%-49.49%: Third Class

I need to collect over 100 hours of work experience over the next 2 and half year! I can do this by going to Solent Creatives, Solent Future or LinkedIn.

Other opportunities to get involved is to go to Production Market Place to assist on L5 and L6 productions. Degree Show help set up the degree show. Volunteer for other events: The Evolution of Story Symposium, and Music Production Showcases.

Feedback from Photography

For this portfolio (60%), I’ve got B2 as my grade. Things that I did well:

  • Good philosophy as a student, as I am a hard working and well disciplined student.
  • My decisions on choosing colour and font styles were suitable to each other.
  • For technical competence: I am certainly a capable photographer, as I able to work and direct with model.
  • Professional and preparation: I would be in the A category.
  • Design and development: good judgement.

Things I need to look out for in the future:

  • I change my idea way too much.
  • Explore the typography a bit more.
  • Layout on content page can be better.
  • Be careful of the focus.
  • Shadow can be filled a bit more with reflector.
  • Analytically imagination: can find a deeper meaning of colour black a bit more.

For this critical reflection (40%), I’ve got C1 as my grade. Things that I did well:

  • Presentation: nice clean cover page
  • Good structure.
  • A lot paraphrasing.

Things I need to look out for in the future:

  • Header and footer page number is needed.
  • Grammar needs to improve, like tense.
  • Spellings and words choices hinder the understanding. I need to be more of thoughtful on this a bit more.
  • Language structure needs to improve. By follow pros, cons, why, theorist to back you up or argue against. If you see this again what would you do. etc.
  • Use page number for Harvard.
  • Avoid descriptive.
  • Harvard should be in alphabetically order.
  • Hand pick something that you can really analyse on.
  • Gibbs reflective cycle would be really helpful.

In conclusion: my critical reflection is my biggest weakness. Therefore, I need to learn how to write analytically, and improve my grammar too.


For my production project (60%), I’ve got A3 as my grade. Things that I did well were:

  • Diversity in my role, as I did pitched, produced, presented and recorded an “as live” podcast.
  • It was technically accomplished production across pre-recorded and live elements.
  • After, I realise there was a mistake, I was able to fixed it straight away.
  • According to Paul, he said my driving and hosting was slick and organised with good sign posting and set-ups: the listener always knew where they were and what was about to happen. From the start of this unit I had a clear idea about what I was going to do: no doubt helped by my experiences with performing. By dress, I’d put together a confident opening with appropriate music, and as presenters we were both very confident and relaxed. I used our relationship to its advantage after dress formative feedback, when it was suggested we needed to be ourselves more, and to signpost/throw forward/ forward sell more effectively.
  • The eventual podcast featured an improved intro/menu/throw forward, with punchy music. I followed a well-written script, part read/part improvised, but read as if it wasn’t written down.
  • Everything was very well organised. The podcast flowed in a logical manner. The two fo us had a good on-air relationship: we sounded like two friends who’ve created a podcast, (but really professional one). It was framed as if it was part of an on-going series and really sold the society to our student audience.
  • Our submission had a clear aesthetic and was a good attempt to synthesis form and content.
  • Although there’s an argument to suggest that with a “showbiz” subject matter there may have been the temptation for a more “jazz hands” aesthetic, i.e. music, applause/cheering FX, which I to an extent can’t resisted! In the event though, it’s possibly a bit “talky” but my on-air relationship carries this off. My artefact demonstrated consideration of technical scope for delivering meaning in a coherent manner.

Things I need to look out for in the future:

  • When faced issue like downsizing, try look at the bigger picture/overall “feel” of your artefact and maybe supplement the basics with some fresh ideas which add variety/light and shade to your narrative, thus helping your listener to say with you be entertained fully at all times.
  • The “talkiness” of my podcast could have been relieved by some pre-production elements such as jingles/transitions to help the programme along.
  • The podcast initially needed a little rebalancing in favour of the brief.
  • The pre-recorded interview was arguably still a bit long: might it have been better run in two halves (a bit like how I split up the vox). It was still very scripted and organised though.

For my critical reflection (40%), I’ve got C1 as my grade. Things that I did well were:

  • I was able to offers the beginnings of a good critical reflection.

Things I need to look out for in the future:

  • I need to proof read my work, before submission. Also, I can recruit a critical friend to check it for me.

Producing feedback:

For the pitch (30%), I’ve got B3 as my grade. Things that I did well in were:

  • Very focused and persuasive presentation that sets out a compelling argument from the start.
  • The semantic analysis of the copy that accompanies programmes shows that I starting to get the grip with the concept of the story and the ways in which it is presented.
  • PROFESSIONALISM AND PREPERATION: Work demonstrates independence in setting some objectives beyond those given.
  • DELIVERY: Presentation and structuring of material appropriate to context and purpose. Communicates clearly. Referencing consistent and accurate.
  • RESEARCH AND USE OF QUOTATION: Locates a wide range of information. Accurate in breadth, with depth in several areas. Exercises judgment in selection and analysis of quotation/information with some evaluation and application of learning to different context(s).
  • MEETING THE BRIEF: Competently uses all the required specialised scholarly and practical skills with evidence of more developed ability in some areas. Sustained attempt to respond to the brief.
  • ANALYTICAL SOPHISTICAITON: Investigation generates well-founded conclusions. Reflection generates a number of critical insights.

Things I need to look out for in the future:

  • Sometimes I don’t need the graphs and tables. Just use the headings with references. This might help with focus and managing the audience engagement.
  • I should think about short form (around 5 minutes) and specifically how this could be pushed out as content on social media and how social media can bring new viewing experiences to the channel.
  • Right at the start I set myself some goals, but it takes me a long time to get to them. Perhaps the shear amount of information I amassed during my research weighted me down. As an improvement, I should try avoid include everything, and handpick the most valuable research materials.

For the report (70%), I’ve got a A3 as my grade. Things that I did well:

  • This is a well presented urban drama that captures the tone and the mood of the location and the people who live there.
  • PRESENTATION: Presentation of work appropriate to context and purpose.  Referencing consistent and accurate.
  • WRITING STYLE & STRUCTURE: Appropriate organisation of work to context and purpose, communication clear.
  • RESEARCH/USE OF QUOTATION: Explores and deploys information from a wide range. Accurate and coherent in breadth of research with depth in many areas. Exercises judgment in selection, analysis and evaluation of quotation/information and application of learning to different context(s).
  • MEETING THE ASSIGNMENT BRIEF: Competence in all the required specialised scholarly and practical skills which exceeds expectations for this level in some respects. Response to brief is sustained and efficient.
  • ANALYTICAL SOPHISTICATION: Thorough investigation generates well-founded conclusions. Reflection often critical and insightful.

Things I need to look out for in the future:

  • I need to tightly woven up the story together.
  • Have a better understanding at structure, character development, narrative arcs and so on.
  • I can do this by read a books about screenwriting, dong LinkedIn learning courses, going to workshop and importantly having a go.