Image References: Editing

Each image has been compressed to be print screened. Look in the actual film to see the full size of them.

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Storyboard Images

I chose to put my main storyboard images on a separate file as well as in the "Planning" part, to write out all the text again, in case my handwriting makes it unreadable. Key: Page Number - Shot Number

1-1: Starry background, fade in. Narration over it, images fly on relevant to the point in the speech. On "Here it comes...", it fades out.

1-2: The word "Disclaimer" emerges in large bold letters with angelic sound effect, text scrolls up rapidly from the bottom with a glitchy effect saying "This film features naughty words" repeatedly.

1-3: As the last text scrolls up, the black backdrop comes up to a mid shot of Drake walking in, sitting on a chair and talking to the camera.

1-4: Image of child watching cartoon, zoom in, then on first game, play the intro to Pokémon Emerald, no sound, the music in the back is in slow tempo, Verdanturf from ORAS.

1-5: Start on (1) and open GBA and when the intro starts, cut to (2). Mid-shot to close-up. No non-diegetic sound.

1-6: During next paragraph, show parts of the room. There's no set cue to transition, just when the shot elongates.

2-1: Camera crabs to the right, viewing Drake's amiibo collection, as it ends it fades out as the next shot fades in.

2-2: Pedestal shot fades in of console shelf from top to bottom. Fades out towards bottom.

2-3: Pedestal shot fades in of game shelf from bottom to top. As it reaches the top, it fades into the next shot.

2-4: High-angle long shot fades in of Drake praying to slightly off camera. Fades into next shot.

2-5: -

2-6: Fades in. High-angle/over-shoulder shot of previous shot where multiple instances of "Haruhi Suzumiya" are shown. Fades out.




3-1: Fades in. This should be the last part of the paragraph. Mid-shot used earlier. On "Go, Bird!", do the Gatchaman hand action. Filming continues to start a Vocaloid song.

3-2: Cut to a clip of vocaloid performance. Cut to another one after the first sentence. Both clips have non-diegetic audio from narration and the soundtrack.

3-3: On "and who a lot of other people are" images of some influenced by fiction scroll across vocaloid to reveal the next scene after. The music fades out during this, Rabbid's dialogue starts.

3-4: Rabbid? is then shown, speaking about games. After this, the clip swooshes to the side with appropriate SFX, being replaced by the next one.

3-5: Tommaso is then shown, speaking Italian. Subtitles match the point, but not what he says. Similar effect to last one come in.

3-6: Muffin is then shown as facerig software. On "I will eat you", swooshes to the next shot.

 

 

4-1: Swooshes back to Drake who's playing Smash Wii U and loses. On losing, he starts to yell, the shot cuts to "connection lost"" before cutting to the next shot. Dialogue here is improve.

 

4-2: Shorter but similar to the previous clip with Undertale and has excuse for the last clip. Similar transition after losing to Sans.

 

4-3: Even shorter than previous shots with Sonic The Fighters? or something similar. Clear anger throughout, ends in same way but quicker.

 

4-4: Cut to continuous shot of watching One Piece, camera handheld. It moves according to how Drake does. Varying shot length.

 

4-5: Close-up of anger, then fall back to chair All the while, speaking to the person off and to the left of camera. Continuation of previous shot.

 

4-6: Montage intro starts, follows "game, reaction" sort of formula, set to Xenoblade Chronicles X's "Uncontrollable". Decide it as you go. Text introducing people during this.



 

5-1: Towards the ending of the sequence, the title comes in. It the causes a fade out alongside the music to end the opening.

Peer Feedback For First Draft

Peer Evaluation For First Draft

I only did peer evaluation for the first draft, as I felt this version would be the one with more problems, there would be more to take notice of, rather than the second version.
 

Michael (Photography Student) said "The highlight was obviously Giovanni. Editing was fine, pretty sleek for the most part, the footage captured was interesting. The framing was pretty off at point, such as missing part of your head, needs a bit of space above the head. Depth of view gets messed up around the 0:57 mark. The amount of media references is outstanding, covering all the ground you really could. Another issue is at around 0:55, where the field of view affects the lighting. It's not bad, it just not necessarily great."

Alex (Media A2 Student) said "Like: The miss en scene on your desk, mic, computer, cartoons on screen made you seem more like a passionate filmmaker into your topic. 
It was a conventional documentary intro (interview clips with little context to intrigue viewer), rousing music. But with the films own personal twist shown through keyframing and handheld pan shots. Especially with that handheld Yu-Gi-Oh transition. 
Smoothness of 2:26 I tried one of those in my A2 coursework and it flopped.
Dislikes: 
Rabbidluigi's footage. I would turn off if I saw that in a real documentary.
Not enough footage recorded by yourself."

Joshua (Gaming and Anime fan) said "Disclaimer needs background noise of some variety, because it drags on. It feels empty. When you brought out the Gameboy, the audio of the game was hard to hear, the sound needs to be altered here. When listing the games, images of the character could be placed across, to place emphasis on those series. I like the idea of showing the game collection, though it could be refilmed to make the image clearer. It's a problem I can understand, but it's very noticeable. The RabbidLuigi joke feels like an inside joke, which isn't something you want to risk. After thinking about it, I stopped paying attention to what he was saying because I was questioning it's purpose. Similar thoughts with Giovanni, could probably be funnier if the names were gone, titles remained. Sharla segment is audio problematic, a little out of place because nothing was hinted at in terms of distaste for Harry Potter. All it would take is one line. It startled me with how out of place it was, but that unfortunately was how it ended. More interesting text could be used for what you like. However, as you know, I'm bad with praise. Everything I haven't pointed out was done right as far as I know. I fire of complaints, and when asked to praise I just feel awful, but hey, you have nice hair."

Response

I do agree with a lot of the complaints the people who've watched it have pointed out. Regardless of whether stuff like the Rabbid clip hit my intention, it doesn't mean the audience would interpret it the same, which leads to problems. I've left clear audio and visual problems in that aren't very professional, and wouldn't slide in that scenario. I agree with the general consensus, it gets stuff right, but it gets a lot wrong. All I can do is take this on board to avoid it happening in the future and while a lot of these problems remain in the final draft, I can hopefully avoid it if another mockumentary project is under my supervision.

Evaluation

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

My research helped me in two ways. Firstly, the mockumentaries I researched, Comic Book The Movie and The Rutles. Comic Book The Movie had a very tame opening, nothing too out of the ordinary, but there was most definitely things off. The guests said things that don't fit them, the fact the superhero fights Nazi's, the reboot is as cliche as they come. It's clearly parodying elements associated with the topic, but not all throughout, a level of subtlety. I attempted to put a level of it within my work, but this opening also influenced me to using special guests, showing memorabilia, direct talking to the camera, use of images, etc. The Rutles on the other hand, was more hands on with it's parody elements, considering the entirety of it was satire of the Beatles. The disclaimer, the overly long shot, the narrator talking to the camera while the cameraman is constantly speeding up, where the narrator is also saying things that don't make sense at some points, these are all clearly done with humor in mind. From here, I learnt that parody didn't need to be just done from subject matter, but is also done from the visuals. What I took from this was the disclaimer, and in the cut scenes, the unusual things being said. However, what this meant is that visual jokes were fine, as long as they were parodying cliches seen in other things. The other opening I watched in my own time was The Canadian Conspiracy, which while I didn't write about it, a lot of it was just mocking how theories can go off the wall and while I didn't borrow many ideas from it, what I did borrow was it's disclaimer, which was also mocking. It did influence other concepts, the outlandish ones, but I felt they were too ambitious.

My media product is a Mockumentary, and while some of my research was dedicated to the genre, the second half was dedicated to the mystery genre (the genre I originally had in mind as what I wanted to do) which gave me an idea of what I should avoid doing. In terms of the mystery films I looked at, The Bourne Identity, Se7en and Memento, some very noticeable trends started to form. The Bourne Identity uses suspense to full effect, using a mixture of shot lengths and angles to form a feeling of anticipation in the viewer. To me, this makes me think that while use of different shot lengths is fine, I should try to avoid it forming any sort of narrative structure, anything that challenges the genre. Se7en uses seeming unrelated imagery to hide things to create a confusingly elaborate narrative, so avoiding that shouldn't be too hard, yet hiding things for comedic effect I feel encouraged to do now. The same goes with Memento, where it reverses everything to create an interesting take of an apparently cliche opening, which allows it to disorientate yet put everything in plain sight, which I use, but not for narrative. I guess the point I'm trying to make is narrative, anything that's overarching and a storyline, avoid it at all costs.

Challenging the normal was something I strived to achieve, due to my genre. Any sort of element that poked fun at how other films were made is an example of this, such as the disclaimer at the start being used not for any major warnings, but as an instant joke. This challenges the norm in a way that catches a viewer off guard, switching their expectation with my desired effect through comedy.

I've also used an abundance of clips featured in other media works which, while not a new idea, is used so rarely it does have a certain uniqueness to it. This allows recognizable images to flood a viewers mind, connecting several identities together in a way that allows the relate-ability to come from all over. The referential humor is also attributed to this, as it targets the audiences memories to connect unrelated things together, such as RabbidLuigi, well known for his general neutral stance on most things, to be portrayed as a man who's snobby, cocky, not who he's recognized as. I've challenged already established jokes, links and conventions from other media products, real media, to create new humor, new connections and take it in my own direction.

However, not all I've done is challenge. There's some ideas that I've tried to stick with to create a believable parody, not just pure comedy. To each joke, there needs to be some set-up, a reason for to exist, a message to be followed from. As such, structurally, I kept it very grounds on. First, a message that had warnings, an introduction, a backstory, show the scale it gets to, titles. This structure is very simplistic, and is one of the most conventional opening routes to take as an intro is meant to set up the rest of the film. Having this formula only establishes, never develops, what an opening should do and this is true of many genre's. A mystery may show a murder take place, but you never know why, who, you never get answers. A police drama may inform you about the main character, how he's gotten to his position, but you never see what he does there, only what he has done. A documentary establishes a scenario, something to be explored, a solution aimed to be achieved, but never provide more than the loosest evidence into getting there. As such, details about the main character are all I reveal, and that he isn't the only one. I don't show progression into him proving a point, merely that the evidence lies in the fact multiple people can have answers.

Structure isn't the only thing however, my use of camerawork and mise 'en scene is very standard. Angles don't try and challenge the norm, they conform with it with very simple and basic choices, like most documentaries taking place in such a small location. The movement is also the same, with the biggest movement being with crab shots, and very small moves. There's never anything drastic, and there never should be. Mise 'en Scene is also rather standard. The costumes aren't outlandish, they look casual enough for just anyone to wear. The rooms it take place in all look very plain and ordinary, like the people who're in them. The small details match the characters as well, Drake having lots of games showing his dedication and Sharla having a very simple area representing her casual nature towards the media products.

For mockumentaries, I believe though I have striven and achieved development of some conventions, editing wise in particular. With most documentaries, the editing is simple, consisting of straight cuts, fades, non-diegetic music, voice-over, text announcing who someone is and little else, which all of them, I feature in "Virtual World Problem". However, I also add even more to that, with the use of specific object movement, varied transitions like having objects scroll over a clip to reveal a new one, dissolving, blinds among others, use of multiple layers shrunk to look like one collage, straight up subtitles to show foreign speakers, altering the speed of clips, allowing the clip editing to be partially be influenced by voice-over, and partially by the music, all this and more aren't standard editing choices for documentaries but they could easily be. They're ideas that can easily be brought in to expand on already established choices editors make for the genre.

"How does your media product represent particular social groups?"

The social groups represented in "Virtual World Problems" don't have too many differences, the major connection being that they're all influenced by the media. However, there are clear groups to make mentions of.

Devoted shut-in's like Drake, the main character, who has spent their life around products like this. Someone entirely comfortable with everything media related, because it's something he can actually talk about. If it was something else, he'd probably shy up but he conforms to the stereotype that he can talk out of the public eye, but to a crowd as long as he can't see them. This choice was made in order to have a vaguely relatable and believable character.

DF doesn't have much that can be talked about, but he represents how passionate gamers can get about gaming and victory, a meaningless victory overall.

RabbidLuigi is a representation of the online media creator group of YouTubers. People known for producing content for YouTube as the name suggests, that rely on their fans to support them, to watch their content, in order to make a living, or to get them to the public eye. They're usually grateful for support, someone who's happy because they've made people happy. However, RabbidLuigi in VWP isn't reflective of this, someone who shows clear arrogance, someone who appears to be doing what he does to boost his ego, seeing his fans as little more than a number. This is not only shown through his words, but his physical actions as well. My choice to go against the stereotype was for the sake of humor, but it carries a powerful message when inferred that fame corrupts. It may have humor as it's start, but look into it and there's a twist.

Giovanni I wanted as a representation of just a foreigner influenced by media. As such, he follows the main point of just speaking a different language to everyone else. Apart from that, there isn't much I think he conforms or challenges. He's an accurate representation of the stereotype in the fact he's normal, he just speaks in a different language. This is done for the sake of humor, as was Rabbid, but the message I wanted to show from this I'll bring up later.

Sharla is a character that represents the mainstream crowd, rather than a specific subgroup. The intention with her is to show how media influences an average person, as she's clearly someone who doesn't spend her life around just this. This allows dynamics to come across where she doesn't exactly understand the connotations liking certain works have on fans of a wider variety of media would, fans who either get way too into it, or think that they're amateur works comparatively to what they're fans of. In a sense, she's the closest thing to an "outsider" in this intro. This is also seen in her clothing, where she has casual clothes for going out in, whereas Drake has casual clothes for lounging around in. However, she belongs to an even bigger group that absolutely needs to be talked about, the female consumer. There should be clear differences to characters like the three aforementioned, in terms of how she talks, what she likes, so on, thanks to her gender, but really, there isn't. While there's clear male and female stereotypes, they aren't touched upon in VWP, showing that there isn't a difference in who can media can effect.

Finally, the big area. While none of them talk, the general content creators at the end. This means none of them have any real conventions they can live up to considering that they don't speak, but the way they're represented is through the fact they're all different content creators. You have reviewers, countdown makers, animators, vloggers, musicians, journalists, debaters, film makers, theorists, e-sports participants, and they all share similarities, even with the four people mentioned before hand. This is meant to get that message I talked about with Giovanni, that message being no mater who you are, where you come from, whether you're a boy or girl, whether you grew up to be successful or not, media can and will influence you, given a chance. It will alter your perception of the world, how you embrace it, so on. As many social groups as covered in this opening there are, they aren't all that different. In a sense, it's the way of saying that if we all like one thing, everything is connected through that. Opinions clash, preferences are different but if there's a universal form it revolves around, it's fictional media.

"What kind of media institution might distribute your media product and why?"

A media institution is a company that distributes the product, starting usually with cinema and then selling merchandise. With a mockumentary, it's quite hard to say how you'd want it to be distributed, especially with the fact that as something that concerns games and anime, it's not just something that would appeal to everyone. My thought process led me to a quite unconventional approach, but the one I feel would be most effective. In order to distribute this, I wouldn't ask a major TV network, for the simple fact there's none that specifically target the audience. If VWP became popular down the line, it'd be up for consideration, to approach a network to ask to air this. However, my first goal would be to approach Sony, one of the biggest multinational conglomerate corporations in the world, known for not just focusing in one area, but rather having support for a wide mileage of them like film, games, music, electronics, etc. Film and games are important here, because then they'd be more likely to approve of the content featured in it, games. Of course, before even considering this, you'd need to get the proper permission from all the content creators featured in it to take it widespread, but the first place I'd get it distributed after approaching Sony, is on their very own PlayStation systems, specifically PS3, 4 and Vita and also YouTube. As PlayStations are gaming consoles, they likely have the target audience already owning them. This means distributing the film through the PlayStation Store is going to have it catch the eyes of many people, as PlayStation Store distributes many films, TV shows, anime, other things that will be mentioned in VWP. YouTube on the other hand, leaves it in a more accessible area, where it's free to upload and plenty of people will be able to see it. Naturally as a modern film, the use of their paid services are accessible, where for a viewer to see it, they will need to pay an amount. This sounds incredibly dangerous because too high, and you lose potential viewers, but too low, and people will think it's bad. However, as a product containing pre-existing works, which is protected from copyright law as mentioned before, profit is not something I can achieve through this. Selling it for any amount breaks copyright law, so the distribution will be free. If any sort of success is founded through this, and people clearly want more of it, other streaming services with the target audience attached to them, I'd aim to try and distribute it on these, the Wii U e-shop, Valve's Steam, X-Box Live and Crunchyroll's premium services. Marketing can be done with trailers, twitter posts and promotion on each of the platforms mentioned above.

"Who would be the audience for your media product?"

My audience, while I don't believe I've explicitly stated anything about who they are in the planning, I've always had in mind who my target audience is. My target audience has a 16-35 market niche, and consists of people who share any love for TV, films, anime, gaming, anyone who shares a love for a type of media product. And I don't mean, just loving, I mean devotion. A large portion of their lives dedicated to them. Maybe people who have an occupation around them. Ethnicity doesn't matter, likely middle class, males and females, most likely more to the male spectrum, etc. The idea is people that honestly love media or even people that just want to understand it even better will be interested in this. Films I'd see them watching before are Comic Book The Movie, and adaptation film of another piece of Media, etc.

"How did you attract/address your audience?"

With the audience, when addressing them in the product, they aren't talked down to. Rather, Drake talks to them like they have at least an understanding of the initial idea, and is only expanded upon then. However, this also allows for humor, because changing how the audience is spoken to with Rabbid is quite humorous. They're treated as equals, unless a character just doesn't care about them. This is because an audience to a documentary, regardless of subcategory, they're interested in discovering about whatever the concept is, ironic or not. Nature documentaries have viewers who want to learn about wildlife, school documentaries have viewers who want to learn about education systems and how the students find and benefit from them, even conspiracy mockumentaries have viewers that want to learn about a theory so they can have a laugh about how ridiculous it is. At the core of documentaries, they have the same way of addressing.

The question is, how do you catch your viewers interest? How do you attract them into watching them? That's why the intro is stacked with reference upon reference. From the disclaimer, names get dropped that have some sort of impact in communities of people from the target audience. You hear something you recognize, interest is automatically placed, you hear a familiar jingle, you wanna know the context. As such, this intro has many recognizable keywords, songs and images from gaming, TV, etc, to a niche community, the target audiences. It it was something more general, you learn to expect to hear it in everyday life. Something as unique as "Gatchaman ~ In The Name of Love", is distinctive, and immediately recognizable to fans of it, which draws in audience members who are fans. On the flip side, due to it's uniqueness, the song may draw in people who are curious about what it is. The less recognizable something is that is recognizable by at least one person, the more effective it is. Name dropping like with "Dante from The Devil May Cry series" also has that effect, because it's an in-joke in the community, but as an in-joke, you don't want to be left out of it, so you get curious to find more out.

"What have you learnt about technologies from the processes of constructing this product?"

I've learnt quite a bit about technologies that helped my media product hit the level it's at now. PowerShot SX130 IS is the camera I used in my final piece, but before then, I had used two different cameras. One was in the preliminary task, which I don't have the name of, and the other was a Canon LEGRIA FS37. Concerning the ones used for the main task, the LEGRIA and PowerShot, only the latter was used due to the natural starting zoom of the camera. The LEGRIA starts off more zoomed in then any other camera that I've used, and considering the small room I was in while filming, it was quite awkward trying to film with. Also, anything I did use was not compatible with the editing software I was using, Sony Vegas Pro Platinum 12. On the other hand, the PowerShot had the perfect range, and did effect the lighting slightly, so nothing was overly bright. This made the shots look more natural and didn't have many problems. This also worked in tandem with the Velbon EF-44 tripod, which was useful keeping the shots still and any movement that could be done from a stationary point looked sleek. However, it didn't allow for horizontal or vertical movement, which was problematic, but it was the best I had accessible to me due to the provided equipment from the school being rather lackluster.. The reason I didn't freak out about it however, is with a mockumentary, not having everything look the most professional is fine, because it creates some small comedic effect with how incorrect something may look. For editing, the primary software I used was the aforementioned Sony Vegas Pro Platinum 12, which was the best software for me to use as it allowed me to continue editing wherever and whenever, rather than limiting me to one computer at school. It was also the editing software I was most familiar with, so it didn't have a steep learning curve for me to use like Adobe Premier Pro might have had. Sony Vegas came equipped with tools to pan/crop, cut, keyframe, transition, allow for 40 video tracks at once, anything that would make it look like a normal film, Spending the most time doing editing was what was necessary in order to make it look good, as all your filming and planning means little if the composition is not effective. Along with this, I also used Freemake Video Converter in order to borrow footage from YouTube and Audacity, a sound editing and recording software so I could not only record all the voice-overs, but audio balance them as well.

"Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?"

In terms of what I've learnt, I honestly wasn't expecting much. As someone who's felt confident with making a film opening due to doing it last year for GCSE and someone who edits videos regularly as a member of the YouTube channel ChallengersApproaching, along with the channels Drakeante, ThatGuyWithGames343, Dunkle Ben and ChampionGamingHD, I felt I'd already come quite a ways with this type of product, and while I'd learn a bit, it wouldn't be much. I'm embarrassed to admit that I'm quite wrong, I've learnt more than I imagined I would.

With the preliminary task, I had an idea with how to create a sequence, no matter how limited it was. I had an idea of how to make something humorous, but it was clear that I was trying too hard. With the main task, I was able to learn to take a more subtle approach. I planned more out, I cared about how it was constructed more. I used the same editing software, but I pushed my knowledge of it to an extreme. I explored the depths of exactly what the software was able to do, what I had access too and I pushed the software to it's limits. Learning the varieties of transitions, how I could edit footage to alter color and honestly everything else Vegas had, I learnt about in order to see what it could do. I was very safe with how I edited before, not really willing to experiment but with this product, I examined all I could with the software to create a high quality result. This also let me discover my limitations, such as Sony Vegas' 40 video track limit, which was quite unexpected but it let me learn that even the best has it's stopping point and I had to create two project files in order to compensate. I also was able to structurally understand how the product needed to flow, after learning about how documentaries vary in order to other film genres. One of the big things I wasn't expecting to learn about but did was copyright law, as I had to study it to know what my limitations were with the footage I used when making it to abide by it, expanding on my previous knowledge I had from working on YouTube channels. Apart from that, I learnt how to make an entertaining piece of media in a different format to what I had done before. While I didn't learn much just by doing the preliminary, I learnt a lot during the main task.

Editing

First Draft: 

With editing, this is where a bulk of my decisions were decided with the product. While I had most of the stuff envisioned, I hadn't thought about the details in full until now, because this is where everything needs to be complete. All image references are from "Image References: Editing".

First off, to edit the disclaimer. (1) I started with the background, which was a starry background, because is looked rather generic but interesting enough. In time with the narration "The Featured Event's" and "Featured Disclaimer" I had swipe on the screen with about a three frame transition, slowly moved across and then disappeared after three frames at the end. The font I decided to use was Blondi, because it had a very commanding and aggressive appearance. The pure white contrasted with the black outline that made the text look defined, and this pattern would be kept throughout the rest of the clip. (2) "Disclaimer that disclaims" had a similar effect, but with a vertical entrance as opposed to the horizontal one from before. However here, I decided to also include the disclaimers that might be mentioned in an actual disclaimer like seizures, and a joke one that would then have a line appear through it, "Mediocrity". This was intended to create humor. (3) From here, a transparent skull comes from the back to the front, fading in and out. This is to make things appear more sinister than they actually are going to be, as the skull represents the negativity, but the transparency reveals there's nothing to be afraid of. (4) This then is followed by "Featured" and the Splatoon clip coming on screen at an angle. The angle is meant to be mocking of how some clips in films are slanted just for variety's sake. After that, they both spin into the background and then consecutive Chihiro's from Danganronpa appear on screen. (5) How I achieved this affect was by planning one's pattern across the screen, and keyframing four points in it, duplicating the image and then cutting each ones movement after one of those points. On Italian, I then have Waluigi's head stick in on the side because he's one of the most recognizable Italian stereotypes in media. On "Dante", he walks across the screen (6), an effect I achieved through keyframing the horizontal movement, then every few frames alternating the angle. On "it'll be here soon", the background starts to fade out, ready for "Here it comes", where the actual disclaimer starts to rise from the bottom till it hits the top. The disclaimer then has a wall of text appear with the words "This film features naughty words" repeated over and over, with multiple walls of text and a glitchy sound effect to create a sense of confusion. (7) I achieved this effect by layering multiple walls of text scrolling up over eachother, and then altering the amount of tracks playing it as well as the start and points of it. The words if made out cause humor, as well as the audio which when reversed is "Buy our merchandise", mocking subliminal advertising in mainstream media.

As the final wall of text scrolls up, beneath it the first live-action shot comes up. (8) This was meant to be a transition into it, which I feel looks smooth enough. For this shot, the audio I felt was a little distorted because of movement, so half of it I re-recorded in post, the dialogue in it. I felt the chair squeak was quite nice, as it was diegetic. (9) From here, the shot crossfades with an image of a family watching TV, because it matches with the dialogue. The zoom on the TV is meant to symbolize that it's the focus. I also decided to make the image black and white, to show that it was from a long time ago. Upon the transition as well, the first bit of music I wanted to use starts playing, "Verdanturf Town - Pokemon Omega Ruby & Alpha Sapphire". I decided on this due to it's relaxing tone, slow pacing and how simple it sounds, matching with talking about Drake's childhood. It then crossfades into another image of a child holding a Gameboy Advance, but zooms out from it being close to the gameboy, creating a reversal of the previous effect (10). During this part, the boxart of Pokemon Emerald flies across to center screen and then zooms in, placing emphasis on this game (11), signifying it's nostalgic impact to Drake, especially with how it's in colour unlike the background, which shows how this game brought colour into his life. We then cut straight to the second live action shot (12), a shot of Drake presenting Emerald to the camera. This hands on approach gives a more personal interaction, and seeing someone interact with a given thing creates a more attached feeling, i.e. a child, dog, etc.

Then, to transition, Yu-Gi-Oh trading cards fly across the screen, to reach a crab shot of part of Drake's room (13), showing off his amiibo collection accompanied once again by the non-diegetic voice over. The choice to transition with the Yu-Gi-Oh cards was done because there wasn't a natural transition to a scene in the same area that also moved, so the choice of Yu-Gi-Oh trading cards added momentum to it and also felt like it wasn't out of place. It then fades to a tilting shot of another part of Drake's room (14), that shows of his game consoles as well as his TV, which is playing RWBY. Both this, and the previous shot were sped up, in order for the first to look less stable, so it looked more amateurish, an idea I wanted to experiment with as somewhat of a mocking joke, and the second to just flow at a better pace. From here, we fade to a pedestal shot of Drake's game collection (15), which hold the same idea as the last two. From here, it fades to a collection of game footage, first Xenoblade, then Persona. The abundance of fades is because I felt that since it was just exploration of the room, it needed to be samey, and Xenoblade and Persona have this too because they're the first games shown like this. However, the next transition is a linear wipe from left to right to reveal Rashid from Street Fighter V. (16) The choice of this is because it contrasts with Rashid's movements as it now appears that he rolls out from behind the wipe, creating a dynamic switch that I'm a fan of. From here, it fades to Blazblue, and the does an iris transition to Death Parade. (17) The iris transition is a where a clip fades and another emerges thanks to an expanding circle from center, which I absolutely loved because it made it look like the clip was emerging from the moon in Blazblue.

From here, it does a few more fades until Drake says the word "Gatchaman", at which point the music which had been playing throughout fades out, signalling a change of pace. From here, we straight cut to another live-action shot (18) where Drake says "Go, Bird!" followed by the non-diegetic music of Gatchaman Crowds: "Gatchaman ~ In The Name of Love". The choice of this song comes down to the fact it's faster paced, relevant to what was just mentioned and can begin from any point the word "Gatchaman" is yelled out, which is perfect for transitioning in. Once it comes in, it's quite loud, until the voice-over starts, which it turns down in a snap. From here, it flashes to white into the Vocaloid section (19), which matches the Gatchaman theming of transformation, as it looks like the video is transforming. The Vocaloid sections follows the similar idea of previous sections, with jump cuts, fades, etc, with a voice over, but how it transitions to the first special guest (20) is through a similar transition to the trading cards, only this time is images of icons in media communities. J.R.R. Tolkien for books, Satoru Iwata for gaming, Hideo Kojima for gaming and Mew2King for e-sports. The RabbidLuigi shot is one of my favorite in the entire thing, because of how broken it was when it was put into editing. I can't identify how the problem was caused, but what it became I was a fan of, because it looks like a transmission. As a transmission, it makes it seem like it is a really special guest that went out of his way, which combined with RabbidLuigi's condescending ego, it emphasizes his grandness by effectively making him look awful. The text is in the font "Century", which is rather formal and represents the "specialness" of the special guests. It fades on screen for a few frames, it fades out. To transition to the next clip, the second special guest Giovanni, (21), I use the Venetian Blinds, where it fades in from a specific angle with a specific movement. I use it because it at least looks more varied than a fade. For this guest, as he's speaking in a different language, along with his introductory text which is the same as Rabbid, he also has subtitle text which starts at the top until the intro text disappears, and then appears at the bottom. This text is in the font Plantagenet Cherokee, and instead of matching the white and black color scheme as seen before, I chose a yellow and black color scheme. The reason I chose this is because it is a clear distinction to what's already established through text, showing the more individual feel it has for Giovanni, this is his text and what he is saying. The transition to guest 3, Sharla, (22) is 3D Blinds, that seem out of place but it's better than a standard wipe. Now here, I want to point out what edits I do. The text. Nothing else. The reason for this is for a reason I haven't stated earlier, entirely my fault, but this is because of the fact I didn't have a good time to talk about it, as Sharla wasn't a character conceptualized in the original planning state. Her enthusiasm for something the interviewer, Drake, the main character, doesn't like is reflected through the gloomy atmosphere, low key lighting, dark clothes and uninspired editing. It's like the video itself reflects Drake's opinion. Anyhow, upon Drake saying something Sharla doesn't like, the music cuts out naturally in the song and it's naturally stopped then, to show a moment of hesitation for humors sake.

After this moment of hesitation, the music kicks back in, full volume this time, where it dissolves to a blank screen where in time with the track, video clips jump in of famous community members videos (23). How it's handles it is frame perfect with the music, synced up individually to take up a quarter of the screen in the order "top left, right, bottom left, right, repeat". On the 9th beat, after two loops of 4, it then begins having clips appear in pairs of two except for six, in packs of 16. (24) The outside 12 an order of "1, 2, 2, 2, 2, 2, 1", going from top left, splitting up to go round the screen until the last one is in place on beat 15. From there, the last four cover the next 4 beats, in the same order seen before. This was done as an entirely ambitious task with the intention to show the scale of the media influence. Each clip was picked with some sort of variety in mind. It then 3D Blinds to a white screen, (25) which while it's an unoriginal transition in context of what I used, the fact I have four rows of visuals makes it perfect for transitioning, which then dissolves into a gold visual galaxy as I call it, where the title enters in time with the music (26), along with "A Drakeante Production" at the bottom. From here, it Portal transitions into a black screen (27), which I chose to use because it's game-esqe feel I felt fits the themes. After that, the Angel Beats opening appears and fades out, (28) to show off that's where the clip would lead into.

Rework

After my first draft, reworks were done to cut down on the amount of additional footage used, namely around the centre and give it a more mockumentary feel. The disclaimer and ending are left relatively untouched, though the middle section from "bigger games" to RabbidLuigi went under a dramatic overhaul of changes, which I'll list now.

• (29) On the first live action clip, there is now text saying "*filmed by professional amateur". The idea I had with this was that there's a small joke going on with how it's shot, because composition wise, while it's good, some of the camerawork is questionable. This is self awareness at the inconsistency of quality throughout it, such as focus and the Rabbid glitch.
• (30) On the section where Drake mentions specific examples, from "Yu-Gi-Oh trading cards" to "Panty & Stocking", images of a character from each of the series appears to establish them rather than a clip from the show. The only exception to this is the Gatchaman clip, as it's the final one. The characters are Eliot Kid (Eliot Kid), Horrid Henry (Horrid Henry), Super Sonic (Sonic The Hedgehog), Shulk (Xenoblade Chronicles), Yu Narukami (Persona), Ryu (Street Fighter), Hazama/Terumi (Blazblue), Satoru (Erased) and Stocking (Panty & Stocking). The decision to do this meant all the clips could be replaced with live action, rather than the additional footage, while still showing the point Drake wanted. The editing was also done in a style that reminisces the original source material for a few of them. Examples are Super Sonic, who does a loop before flying off the screen as a reference to the iconic loops in Sonic games and Yu Narukami, who's image enters in similar fashion to his Instant Finish in Persona 4 Arena.
• (30) After the pedestal shot in the room of the games, there is now a shot of Drake putting on "Deal With It" glasses to read. The idea of this shot was to parody similar looking shots in other films, not just mockumentaries, but any genre. Drake has been seen earlier with his actual glasses, meaning the viewer realizes these are fake and don't help him read. The high-angle is a commonly associated shot with this type of scene. The glasses themselves are a reference to "meme culture" spread through the internet. The editing at this point is what gives the illusion of camera movement up and to the right, it's a simple post edit pan. It keeps the pace the previous shots established, while not technically moving and creating comedy. To get into this shot is a fade-in, to match the others at this point.
• (31, 32, 33) The three shots listed here are meant to be a parody of western shootouts, which sounds like quite an absurd thing to go into here. However, it was useful for showcasing how gamers see multiplayer games as competitions. First off, Drake appears and squints his eyes as the screen narrows on him, and then the same happens for a new character, who'll be referred to as Drake's Friend/DF. With these two shots, I layered royalty free fire over the top of them, to show how "heated" the battle is, but with 90% transparency to avoid the fire becoming the main focus. With the narrowing, it was achieved through simply messing with the ratio of the clip, narrowing what was in the visible frame. Afterwards, a high-angle, almost top-down shot of them pulling out their weapons, a couple of 3DS's both playing Pokemon. This is a parody of two shots where participants pull out their guns in westerns, but with an appropriate item for the scenario. The entirety of this sequence uses straight cuts, to showcase the quick reflexes someone in a western shoot-up would have, this time for entirely ironic reasons.
• (34) The transition between (33) and (35) is as the screen rotates one way, a Pokeball appears on screen, rotates the opposite way at a slower pace as both zoom into (33) fading, then the Pokeball. The idea for this was to simulate an effect used in Pokemon games when a trainer challenges you to a battle, usually a foreground object and background scene take contrasting actions to transition, and I feel this captured it.
• (35) This was a still close-up of Drake's head while showing him talking to people on Skype. These people, two have their faces, one does not, which is what a typical skype group chat may look like. Both the two with faces however, are indistinguishable, as they aren't important to the mockumentary, just ideas. The one image you can see though, the bunny cat, is meant to provide comedy in the fact it does meet a type of humor on the internet previous mentioned, meme culture, but a more accessible version of it as some people will find cat pictures funnier than glasses. This shot was also my way of hiding a couple easter eggs relating to development, something that might be nice for viewers to find if they rewatched it 5 years after it came out or something. The person on the far left is the narrator in the disclaimer and the three people that are shown match personalities of the original three guests (RabbidLuigi, Giovanni, FaceRigDog): a Brit (middle), a non-native speaker (left) and a talking animal persona (right).
• (36) From a page roll transition after "Miracle Paint", a shot of Drake looking adoringly at the camera is shown, being a parody of reverse shot scenarios. If you think about it, it makes sense that he's facing the previously shown clip, but it's a parody in the fact that it's a perfect 180 turn around, you can't see anything of the other shots in this one. As such, it makes sense it's reversed, but you'd never know, a little bit meta. The movement of the camera was done for the same reason mentioned in (30), for pacing. The only other thing worth mentioning is that this is the only time we see the opposite side of Drake's room and that the hat is meant to make him look nerdier and a bit more pathetic.
• (37) This was a still shot of someone playing the Vocaloid game, Project Diva F 2nd, assumed to be Drake. It iris transitioned from the previous shot to get here. While the camera is stationary here, the self-recorded gameplay element of the moving note prompts as well as the controller keep the pace.
• (38) A linear wipe leads into an arc shot of Drake singing, which references the main media area that's just been talked about, music. The arc shot shows One Punch Man on one screen, implying he's singing a song from that, and Audacity, a recording software implying this is an actual recording. Comedy here comes from fact this part of Drake's room has been shown a lot before, so certain things can be identified, such as where his microphone would be. The opposite way from where he's facing. This then has the scrolling images used before into a relatively untouched ending sequence.

Final Product: 

Planning

Scripting

Scripting was the first task and it wasn't as hard as I thought it would be. From my concept, I was able to quickly think of some ideas for what I wanted to do. I took a lot of inspiration from Comic Book The Movie in particular, admittedly too much, but I felt like I was able to utilize the concept of it effectively into making it it's own thing.

Space and starry background, narration with edits that match what is being said.

Em: Before we start, the featured events featured disclaimer. A disclaimer that disclaims all dis claims. Things like, the graphic nature of the featured events featured splatfest, featured guests such as nerds and one Italian, featuring dante from the devil may cry series. It’ll be here soon, here it comes…

As this is said, the background slows down and blurs out. The disclaimer goes across the screen, too fast to be read. It reads “This film features naughty words” over and over. While that scrolls across the screen, the following is said in reverse, sped up to meet the end of the disclaimer. This whole sequence should take place during a quarter to a third of a second (15-20 frames if 60fps)

mE: Buy our merchandise.

To start off, a lot of the disclaimers I've seen for Mockumentaries are never serious. I think I took that to an extremity with this one. Repeated use of "disclaimer" and "featured" are meant to drill these points into the ground. "Disclaimer" emphasises the hugeness of the disclaimer, while "Featured" is a mockery of how other films tell you contents beforehand, like guests and what's coming up instead of just waiting for the natural progression and just the general overuse of it. "Splatfest" is used because it references the game Splatoon, which the audience should hopefully understand if they were to fit under the target category, a lot of terms I use in this are, but the reason it creates humour is because Splatoon is one of the most non-violent shooters out there, contrasting "graphic nature". "Featuring Dante from The Devil May Cry series" is also intended to be humorous as it's a reference to the Shin Megami Tensei franchise. On the box art for the release of one of the UK games, a seal with that on was placed on it but due to Dante's trivial role in the game, it became a target for mockery. I use it here because it's one of the more noticeable jokes in gaming culture, which is the largest area I cover during this opening. The "Buy our merchandise" part of it is meant to emphasise how little the disclaimer actually meant and parody the overuse of subliminal messages in the medium.

Cut to a mid shot of Drake walking in and talking directly to the camera in his room.

Drake: Hello there, my name is Drake, anime watcher, competitive gamer, just general fantasy world enthusiast.

Cut to still images relevant to what Drake's talking about.

I grew up around fictional realms, with cartoons early in the morning, my family introducing me to comic books and receiving my first game when I was 6, that being Pokemon Emerald for the GameBoy Advance.

Cut back to the mid shot showing the game being turned on.

It’s so gratifying to take my old cartridge, turn it on and hear that music. Nostalgic.

As shown here, I put very little info about the camerawork in the script, namely because I felt that it'd be limiting when I came to storyboarding. It's a personal thing, but I feel I should make note of it. The introduction of Drake however is something I wanted to make a big deal about, due to the fact Drake is the one the mockumentary would be designed around, which is why his introduction is the first thing I set in stone. I knew however that I didn't want every shot to be live-action, due to how little movement and story telling is done here, along with how it goes against what the genre wants. That's why I decided to add still images because they get the point across of how Drake grew up. I chose Pokémon Emerald as his first game because it was my first game and as such, I understood that you could get nostalgic feelings from it, especially from the soundtrack.

Crabs and pans of the room

Yu-Gi-Oh trading cards, shows like Eliot Kid, comics like Horrid Henry, games like Sonic, all these made up my early years and brought me to where I am now, where I’m still enjoying all these forms of entertainment. I’ve got into bigger games like Xenoblade Chronicles and Persona and started taking these to more competitive levels with games like Street Fighter and Blazblue. I’m watching anime with themes I could never dream of as a kid like Erased, Panty & Stocking and Gatchaman. Go, Bird!

Even the music I listen to take these elements with vocaloids rising in popularity. Some people would call these weird, and I get that, but these are a part of who I am, where I came from, and who a lot of other people are.

The crab and pan is meant to just pad out the paragraph. I wouldn't want to run the risk of boring the audience with footage they may have seen from their respective shows/games, so I decided to include a showcase of the room due to how much I can show off. It'd also give me a chance to include camera movement options I probably wouldn't have otherwise. The mentioned franchises (Eliot Kid, Yu--Gi-Oh, Persona, etc), all of them have influenced my life personally in some way or another. To say at this point Drake wasn't inspired by myself would be lying, so I used these because I knew if Drake was like me, this could've made him who he is today. The use of "Go, Bird!" at the end of the paragraph is a reference to Gatchaman, as it's the dialogue used to transform in the show. I'm also going to have the hand movement for the transformation here so it show the impact the show had on Drake. With the Vocaloids, I'm thinking of having actual Vocaloid music videos or live concerts as the footage to show the scale of them.

Rabbid: Gaming for me is a big part of my life. Not just because I enjoy it, but because I enjoyed it so much as a kid that it’s my job now. A lot of passion goes a long way. One minute, you’re playing Wind Waker on the gamecube and the next, you’re out there saving the countdown community. It isn’t easy being the most popular man on this part of the internet but hey, someone has to do it.

Giovanni: (Speaking Italian, subtitles over read) Anime is the best thing ever, everyone should watch it. It’s changed my life from being average into above average. People need to just watch it, it’s a crime not to. Seriously, my dad works in the force and I’ll get him to arrest you if you don’t.

These are going to be introduced as special guests to emphasise how fictional works influence people. However, each of these is going to either say something odd or be presented in a way that isn't normal. Eg, the Rabbid one is not the actual well known Rabbid, I'm going to get someone who sounds vaguely similar to him. Giovanni speaks in Italian, however, the subtitles don't match what he says. What they do mean however, is that "You're asking me to speak Italian, when I consider English the better language?" which creates humor, in and of itself. Both of these shots are likely going to be midshots but they may not, I haven't decided. I might also add a third one of these too this to have a rule of three going on.

Drake: And there’s many more out there who have been infected by non-reality. They’ve grown up with stuff like this and are still experiencing and enjoying them today, to the point where jobs are a thought of the past, because their living is in-front of them. Right now, I’m playing one of the games that I’ve spent way too many hours to admit on it, Super Smash Bros for Wii U.

(Improvise into a failure)

(Do the same for some fighting game)

(Do the same for Undertale)

(Eventually just watch One piece)

With this sequence, the idea was meant to be that Drake wanted to show off his skills and just couldn't, constantly looking like he was playing something to an impressive degree but actually playing quite poorly. The games I'd chose for this, Smash Bros, another fighting game and Undertale, all have clear difficult points in them where it could be easily reached and embarrassing for Drake, those being ranked matches in the first two and the Sans fight in Undertale. Switching to One Piece, an anime, was meant to just show him giving up. The word choice, "infected", was meant to make the culture ironically sound parasitic and as if it was something you wouldn't want to be a part of.

Maybe I do spend to much time doing this stuff. I guess that’s what we call a Virtual World Problem? Oh my god, I just figured out the title for this, I am a genius.

Cameraman: We already had one.

Drake: But mine is better.

Cameraman: With all due respect…

Drake: With all due respect I hired you and can fire you at any point. So can I have my damn title sequence? …oh I haven’t rendered it. Stop filming!

This was a rough version of the dialogue I intended to show here with an interaction between Drake and Cameraman. The impression I wanted to get from this was the Drake didn't like the Cameracrew because they stuck to what you should in a film, what was decided before, where Drake wants to just change things throughout. I would want this if it was a full length film become a reoccurring gag throughout the film, that he would argue with a cameraman, replace them, repeat throughout the film. The idea with the camerawork I was thinking here was to have it have a similar shot to whatever was before, but for Drake to make the shot look wrong by coming up close so the viewer wouldn't see much, only hear.

Title sequence starts. Montage intro-ish, with a little bit of length to it. The music is “Uncontrollable” from Xenoblade Chronicles X. Clip of game, reaction, game, reaction, etc. As they appear, the titles appear and eventually culminate in the title.

For the title sequence, I wanted to make it look bad. Like, really bad, by doing a cliched montage intro seen in amateurish videos on fictional works, see example here: https://www.youtube.com/watch?v=_gtj6dhKuIM (Time frame 0:00 - 0:42) Inconsistent video quality, seemingly random and bland transitions, goes on for too long, dull font, etc. I'd obviously make it look better than that, like syncing clip changes with the music, etc. The song, Uncontrollable, I chose because of it's chorus having very distinct start and end points, meaning I couldn't cut it up until it had gone on for too long and as a lyrical track, had very distinct points to transition. https://youtu.be/cgudF-hVlDA?t=1m9s Eventually, the titles would appear and then it'd fade to black.

Casting 

Narrator: The narrator at the start I had a person in mind for immediately, someone with the ability to have a voice that could sound soft yet a little monotone, could build something up to sound more amazing than it actually is. This is why I got my friend Em Stjernberg to help out.

Drake: Like I said before, Drake is heavily inspired by myself, so I thought casting myself as him would be fine. Since Drake is the main character, I knew that he'd be the character we'd need the most for filming and the easiest way to guarantee that is to be the one who is needed. That being said, I also have the looks for Drake, looking permanently tired, overly long hair, etc.

Rabbid: For Rabbid, I wanted someone who sounded like the real RabbidLuigi, which I'll put a link to here (https://www.youtube.com/user/rabbidluigi), but I wanted to make a small adjustment. I wanted him to sound so condescending, and my friend Will Barringer was just the guy to ask. As someone who was familiar with the same community Rabbid is from, he knew the personality quite well, but he could make it sound so much more empowered like he was on his high-horse, and that's why I asked him.

Giovanni: Giovanni's character I wanted to speak fluent Italian, so my first instinct was to have a native speaker, and the best one I knew I could get a hold of was my friend Tommaso Fatichi. I could've probably taught another one of my friends the phrases, but it runs the risk of sounding disjointed and with someone fluent in the language, it allows me to pull somewhat of a joke. What I told Tommaso was to say anything in Italian for a length of time, but I didn't tell him what. As such, what he says will be different from the subtitles placed over him, creating humour there.

Cameraman: For the cameraman, they wouldn't be filming most of it, rather being a voice behind the camera. However, I did want people who could be available at almost any time, incase I did need assistance but mainly, I needed them to either be a voice behind the camera and potentially the third guest. This is why I asked my friends Aimee Reid and Sasha Dunn, because when one wasn't available, the other likely was. This meant I constantly had one of them to assist me, and they both could play characters with rather timid voices, which is what I needed from the Cameraman.

Storyboarding 

With the storyboards, all of which will be attached here, I started thinking about every shot and drew how I envisioned them. All text is written out on the "Storyboard Images" entry to the blog so you know what it says if it's unreadable here. (Key: Page Number - Shot Number)

1-1: For the disclaimer, I felt a black background would be to boring, yet a starry background has a similar effect but is more interesting and dynamic.

1-2: With the emergence of "Disclaimer", I wanted it to be big, yet not too big, which is why I later decided to remove the angelic effect and just have it rise during the "Here it comes...". The glitchy-ness and repeated text is meant to throw the viewer of, to create a shot where re-watching it reveals new things which while not relevant to the story, provide humorous effect. On their second watch, they may read the text, which is rather underwhelming for the build-up. However, upon a third or fourth, they may take it upon themselves to reverse the audio to here the subliminal message parody, providing more humor due to how it's so unsubtle yet they didn't hear it earlier.

1-3: This shot was done to give more of an introductory feel to the introduction, as repetitive as that sounds. There was no real other reason for this sort of shot so be done.

1-4: The use of still images instead of live-action is to give the implication of this being something from the past, and adding a hint of diversity. While I later went on to replace the intro of Emerald with just the boxart, the fact these were what was shown show the importance to Drake.

1-5: Here I wanted the effect that it focused on the game when it's audio becomes important. However, due to how everything had to be shot, it was too far away, so zooming through editing proved a bit of a problem. What it did allow however, is to hear that music, or at least part of it that makes it memorable, what a lot of kids who grew up in the 2000's will remember.

1-6: The idea with the non-set transitions is that I didn't need to set shot length. I could just let them flow naturally into one another. Other concepts for the next few shots include Yu-Gi-Oh collection showcasing a table covered in cards and a duel disk and watching an anime while showing the reaction with a panning camera.

2-1: Viewing the amiibo collection shows just how dedicated Drake is to his games, along with the boxes full of dvd's in the back showing his films. The idea with this was to signify how important media is to him, and show his enthusiasm for them. The crab shot reveals is over a period of time and the amount of amiibo in particular shows this to a bigger degree.

2-2: The pedestal shot here has the same effect, this time with TV showing anime even when he's distinctly not watching it as well as his video game consoles. The amount of them shown is above what is considered a normal amount, showcasing a bit of an obsessive nature.

2-3: Same effect as previous two, this time with video game collection, some DVD's, and any memorabilia of games he has.

2-4: The praying is meant to look important, but not reveal what he's praying to. This is revealed in the next shot with quite a comedic fashion.

2-6: We see he's praying to "Haruhi Suzumiya", a fictional character who is considered to god of the universe in the anime she is from. As such, Drake is praying to a fictional deity, and humor is caused because of it.

3-1: The Gatchaman hand action is from when a Gatchaman powers up during the show, meaning it's a symbol of it. As such, imitation of it shows a liking towards the show. The Vocaloid song at this point isn't decided, which if I don't choose one, I'll use a Gatchaman song most likely.

3-2: Each Vocaloid video is distinct in style, and I can show how popular they are nowadays because of the live performances, eg. David Letterman show.

3-3: This is meant to be a way to transition into the special guests, people I consider including are just influential figures in fictional media, like Hayao Miyazaki, Hideo Kojima, etc. The music I changed to keeping later on because I felt the special guest bits would be too bland without.

3-4: Rabbid speaks at a midshot away from the camera, as specified earlier. Nothing much to say about this other than the transition changed to something else because I felt it was more varied.

3-5: Nothing much to say about this either, transition was changed for same reason.

3-6: At this point, I decided on the third special guest, to be the obscene one, a piece of software that moves in accordance to the user, that can appear as whatever you want it to. It would create humor due to how random it is.

From here, every last one of these shots gets cut, so I'll explain my thoughts for each originally.

4-1,2,3,4 & 5: This section is entire improvised. The first four share the same shot, as it can be used to show that he's trying to hide the fact he's having to refilm each thing. The fifth one when Drake gets annoyed at the cameraman, can be handheld as long as it carry's on from the previous shot.

4-6: The montage intro is commonly used with video countdowns, and is synonymous for being overly long and I wanted to have a parody of that. Needless to say, the reason I cut it is because it would've dragged on and been awful to watch. The choice of Xenoblade's "Uncontrollable", came down to the fact the chorus is in the perfect frame of being too long between 30-40 seconds.

5-1: I wanted the title to be the last thing the viewer saw so it showed climax to the intro, but how I wanted it I still was on the fence about. I did have a general idea of having it fade out afterwards.

Filming

Filming took longer than expected. First off, the camera I borrowed from the school was broken, which I didn't know till I got home, so Aimee lent me hers. However, this consumed batteries like a mad thing, so it was quite costly.

After speaking to people and finding out who I could get onboard, I first got the footage for the special guests. This is because they were relatively small clips and didn't need much variation to them. However, the FaceRigDog one couldn't be filmed because of the requirement to get my friend on Skype with screen capture software and like any piece of tech, something had to go wrong. The facecam broke so FaceRig couldn't recognize Josh's face. so I needed to come up with a substitute, I'll get onto that later.

The second filming session covering the bulk of everything went rather smoothly. Almost everything in the original storyboard was filmed then and there. However, there was an alarming problem that came up right there was that the camera naturally darkened everything. This meant that all the footage filmed that day was unrecognizable. This also wasted quite a few batteries, so for the next filming session, I borrowed a working camera from the school. This camera had the problem of having a natural zoom, which made things problematic but I could film everything in a lighter environment, where it was recognizable. Once again, I managed to refilm everything but without the last scene. However, once again, there was a problem. This camera produced files incompatible with my editing software, so I needed to refilm with the first camera, but it was getting late so when I did I had to change the environment again. This time, internal lighting was turned on which produced a problem of not showing much different with the ritual scene but I didn't refilm that. I didn't refilm a lot here due to my decision about the ending session. I felt the last scene and the montage intro would've been quite grating without making much progress, the joke would've got old so I decided to change the ending their and then, after I refilmed everything.

What I mentioned before about a substitute guest came into effect now I didn't need Cameraman's character, but I wanted someone with similar effect, so Sharla became the third guest, played by Cameraman. I wanted the conversation to have similar implications to the first one, so I wanted to find a franchise unmentioned before hand where Drake could imply he hated it. This led to Harry Potter being mentioned.

Additional Footage Hunting

Additional Footage was important to the intro, considering how minimalist the footage filmed live was. I'll make a list of each clip used, where it was from and why it was used:

• "Wii U - Splatoon Squid Kid TV Commercial" - This was used to go alongside Splatfest, to have a visual side to the joke.
• "South Park Intro" - This was used for background visual effect while Drake was talking, to make it look more interesting.
• All photo's - These were all featured to emphasize a point at the time.
• "Digimon Story Cyber Sleuth Trailer" - To produce irony as it would play when talking about Pokemon.
• "RWBY Volume 2 Opening" & "Super Mario Maker" - To provide visual difference in the panning.
• "Xenoblade Chronicles", "Persona 4 Dancing All Night", "Street Fighter V", "Blazblue", "Death Parade", "Erased", "Panty & Stocking" & "Gatchaman Crowds" - To provide visual cues when mentioning the names, since I'd ran out of room to show and because the ritual scene was impossible in the current lighting.
• "Reikenzan" - Visuals in the background.
• "Vocaloids" - To distinctly show how odd they are when talking about music.
• "Hyrule Warriors Trailer" & "Fire Emblem Awakening cutscene" - To transition from Vocaloids.
• "A Talking Cat!?! - Jontron", "Q&A #1 - MasterJakeStudios", "Sleep Fighter - RocketJump", "Sequelitis - MegaMan Classic VS MegaMan X - Egoraptor", "Zero Difficulty (The Jimquisition), "Death By Glamour Acapella - SmoothMcGroove", "The Completionist Kicks Off 2016!", "Super Speed Update!! - Markiplier", "ProJared Intro", "Eastern Philosophers VS Western Philosophers - Epic Rap Battles of History", "Game Theory", "GrArkarda", "RWBY Chapter 1 Volume 1", "Uncontrollable Cover - Tsuko G", "Visiting Chuggaconroy - StephenVlog", "Undertale The Musical - RandomEncounters", "Peppermint Cream - NSP", "Anime in 2013 Part 1 - Gigguk", "Undertale - Dating Start - Jazz Cover - insanetherainmusic", "DigiTy", "ChallengersApproaching Intro", "Hugo Breaks Street Fighter - Maximillian Dood", "Ocarina of Time With Lyrics - BrentalFloss", "Drakeante Intro V2 - Myself" - All of these make up the collage at the end of the intro, each appearing in time with music.

The music also follows to this, the tracks being:

• "Verdanturf Town - Pokemon Omega Ruby and Alpha Sapphire" Composers: Junichi Masuda, Go Ichinose, Morikazu Aoki. Arrangers: Junichi Masuda, Go Ichinose, Morikazu Aoki
• "Gatchaman ~ In The Name of Love" - Jin Aketagawa and Iwasaki Taku

Now all of these have been mentioned, it's now important to mention how the law is brought into this. As long as it isn't blatant plagiarism of works, the law allows for copyright to be overlooked in the name of parody, as long as it resides within fair dealing and I believe my work does. The film was not made with profit in mind, and does not achieve a profit for making it, and if it was to be completed the credit sequence at the end would contain every last borrowed reference thing, along with who created this. I wouldn't claim any of it as my own, or attempt to profit of of it. Futhermore, with educational undertones that may be brought up in any sort of documentary, the law protects the fair use of works with intention to educate, which then brings up, what would VWP educate people in? I believe if I went on to continue the product, beyond the opening, the relevance of media as a whole would be explored and you would reach a conclusion about the impact it makes, just in a vaguely mocking path to it. A humorous approach that abides by the law. To further give myself validation, I've not only studied copyright law to know whether this is fair, I will also upload the first draft to YouTube, which will immediately strike my account if it detects even a hint of copyrighted footage.

EDT: No strikes after upload, the product isn't breaking laws.