LO2: Risk Assessments for Filming/Shooting

Here is my Risk Assessment for my first photoshoot; the small plaza outside of the Winter Gardens:

Here is my Risk Assessment for my second photoshoot; the outdoor classroom space on Matilda Street:

LO2: Location Recces for Shooting/Photography

Here is my Location Recce for my first photoshoot; the small plaza outside of the Winter Gardens:

Here is my Location Recce for my second photoshoot; the outdoor classroom space on Matilda Street:

LO2: Roles and Responsibilities

The campaign will be wholly created by me, Amber Stringer, and as such all roles and responsibilities fall to me.

LO2: Production Plan for the Campaign

 Here is my production plan for the campaign, including ideal deadlines and contingencies:

LO2: Identification of Target Audience for the Campaign

Kaitie is a 16-year-old girl who lives in Richmond with her mother, Tina, and her pet rat named Speckles, and her partner Dallas lives just down the road. Kaitie is a student at her local sixth form who studies biology, psychology and art at A-Level. She comes from a C2DE background and often only has a little disposable income, collected from her part-time job at a McDonalds in Sheffield City Centre. Her long-term goal is to head into higher education and study to be a child’s art therapist to attempt to discourage anti-social behaviours that start at a young age – something she has often witnessed and grown up around. But she doesn’t want to let her studies get ahead of her and so, with the help of Dallas, aims to “loosen up”, enjoy life and express herself just that little bit more. Kaitie is a big fan and supporter of clothing brands like Killstar who are openly supportive of movements such as BLM. She enjoys reading magazines and loves to consume any media she can get of alternative communities for inspiration on her own looks, the goth subculture being one of her personal favourites.

LO2: Explanation of Media Choices for Client and Mind Map of Ideas

For my client, I have decided to create three media types: 

Social Media Page:

This page will be solely for the purpose of marketing SPH Publising's new magazine "Steelie" and will only post content to reach this goal

TV Advertisement:

This will be featured prior to watershed (at around 3-4pm) so as to fit to a schedule when my target audience would be completing their education process

Posters:

These will be placed in social hotspots for my target audience, for example roller rinks, outdoor areas (Peace Gardens) and nearby popular shops.

LO1: Analysis of the "It All Ends" Death Hallows Part 2 Campaign

The primary target audience of the “It All Ends” Deathly Hallows Part 2 advertising campaign is the children-turned-teens who grew up with the movies, with the teens-turned-adults who grew up with the books as a secondary target audience. This is because of the genre development from mystery-fantasy to war-fantasy, and the dark themes that come with that switch. Moreover, nostalgia serves as an appealing feature. The key message of this campaign is “watch the movie”, shown by the consistent promotion of the release date and repeated teasers throughout the campaigns run. Methods of advertising used are mostly traditional due to the time in which the campaign ran, however there are a few digital methods such as web banners and social media that can be found. These were sparse, though, and didn’t contribute greatly to the campaigns success. Most of the marketing was done through traditional methods, including posters, TV trailers and billboards. A lot of implication was used in the campaign, the repeated “It All Ends” phrase not only being a focal example of synergy, but moreover the actual title of the movie is rarely mentioned throughout all of the material. This not only creates a spectacle but also implies the iconic nature of the franchise – its size and success render the use of its name unnecessary when compared to its synergy through imagery and iconography.

The campaign was released with posters and trailers switching order depending on the country. However, as a general, it seems the posters were typically released before the trailers, which eventually lead o the actual release. This is effective as it induces hype and spectacle for the finale of the franchise. The campaign was produced in the early 2010s, around 10 years after the original release of the first movie. This is relevant as the primary target audience are those who were children watching the first movies – it implies an important milestone for the franchise and viewers with this time gap. Technological convergence has helped this campaign as it allowed for the beginning of the overarching Wizarding World brand to branch out to digital and viral marketing techniques that it used for later movies and still uses for products to this day. Some legal issues the campaign faced/could have faced are ensuring that the Warner Bros./JK Rowling contract wasn’t breached, as the franchise relies on this contract to exist in its current state. Some ethical issues the campaign faced/could have faced are ensuring all social and cultural groups represented in the advertising material were represented accurately and fairly so as to ensure the brand, franchise and all products did not fall out of public favour. This issue is confirmed to be founded after the Harry Potter brand wavered in popularity with JK Rowling’s exposure of transphobic behaviours. This reinforces the need for acknowledgement of these ethical issues.