Category: HND YEAR 2

Reflect Upon Your Individual Investigation

Lastly, you must reflect on your own performance and learning and be able to evaluate the research processes you used and the outcomes you developed.



I like the overall outcome of my SSI video. I think that choosing to do a video was a much more convenient way to show the lighting and colours with visuals, rather than just writing them down. However saying that there are a few things that I would like to have done differently. The big one is my voiceover. In all my videos my voiceover seems non-enthusiastic and a bit boring. This is because I’ve typed up what I was going to say and I basically just read it straight from the paper. I wish I could just have more excitement in my voice to make the video a bit more interesting.

Originally I was just going to look at the colour palettes but then I added lighting because I thought without light there wouldn’t be any colour. But now I kind of wished I could have just focused on one or the other so I could have been more detailed on the topic.

Also I wish I could have covered some more aspects in this video as there are so many when it comes to this topic. I never really explained why Ridley Scott used these colour palettes or lighting styles which is something I wish I could have done. I watched numerous interviews from Ridley Scott but none seemed to cover the topic of colour palettes and only brushed lightly on his lighting style. So basically I wish I could have more reliable material available, possibly quotes and numerical data from Ridley Scott himself to add to my research.

I tried looking for footage of Ridley Scott during pre-production talking about set design, props,and the costume design because this would have been really nice to add some of that into my video but it was unavailable as I looked quite hard. I also wanted to look at other Ridley Scotts films such as Gladiator, American Gangster, and Robin Hood. However that would have meant me not talking so much about the other films that I covered because of time constraints. I mean there wasn’t a time limit but I’m sure a 45 minute long video is a bit too long.

Unfortunately I didn’t ask for any feedback from my teachers or anyone for this project. I believe if I would have asked for some constructive criticism for my video I could have been more critical in my reflection. Next time I will be sure to get some outside feedback as it could help me in the long run for future projects.

To sum everything up I am happy with the final video product and it was just what I was predicting when I completed my proposal form. However saying that, I wish I could have added a bit more extensive information to it. But because I was very limited to the amount of resources available, the interviews and pre-production footage that I wanted to include in my video, I couldn’t because it wasn’t there. But overall I enjoyed the topic that I researched as it is still very interesting to me and I plan to keep doing future research on it as it becomes available.

Unit 2 Criteria: 4.1, 4.2 & 4.3 and Unit 4 Criteria: 4.1 & 4.2




Present the results of your Special Subject Investigation to a group of your peers. The style, length, size and method of your presentation will be negotiated with your supervisor throughout the process. Some examples are as follows:

  • A written Dissertation
  • A Masterclass or lecture
  • A Multi-Media Website
  • An Interactive DVD/Blu Ray
  • A Showreel accompanied by a Supporting Booklet
  • Etc



Above is the final product of my SSI Report. I decided to make a video rather than just writing a paper because for the topic that I choose it is better as you can see the visuals and hear the added voice over instead of just reading it. I downloaded the 3 films that I analyzed in the video along with some extras like behind the scenes footage of Prometheus and Then I imported them and edited the video using Adobe Premier Pro CS3 and CS6. Below is the voiceover and the references I used.


In this video I’ll be examining a few of Ridley Scotts films that he’s directed throughout the decades, and I’ll be taking a closer look at his lighting style as well as the use of color palettes chosen for these films. In films, lighting and color palettes are usually intentional and are controlled on set during production. First I’ll briefly discuss what they both are.

Lighting a shot is an art, and is a very essential to filmmaking and with many different techniques to light a shot; there are numerous atmospheric outcomes to be gained. Just like light does, shadows play a prominent role in filmmaking, and its with these shadows we get a sense of feel for what directors are trying to accomplish in their films.

Color Palettes are a limited number of specific colors, which are used in a film to convey various aspects of character and story to the viewer. They visually can communicate emotion as well as also connote things symbolically. Color Palettes consist of many aspects starting with pre production with the set design, costumes, props, and in post-production with color grading to finesse the final image.

First I’ll be looking at the color palette and lighting techniques in one of his earlier films, the sci-fi blade runner. This film is praised for the amount of dedication, which Ridley Scott and cinematographer Jordan Cronenweth went into, to light each of the scenes. The film takes place in a futuristic 2019 dystopian Los Angeles. During the majority of the movie a major theme is the non-stop rain that doesn’t seem to end, and this is to show a sense of despair, pollution, and creates ambiance throughout. Scott uses ample amounts of florescent neon in this film. Such as in clubs, or on building store fronts, but famously know for the umbrella poles which seems a bit dangerous in the rain but it cannot be denied, it looks cool.

This scene however when the main character Deckard interrogates the replicant Rachael in Tyrell’s corporation, is one of the only scenes when the sun is quite present. While most of the movie has a mysterious blue tinge, this scene is quite the opposite with a warmish yellow feel to it. In this shot Deckard is lit from the back casting a halo effect around him, which suits his protagonist role. Deckard then ironically states “its too bright in here”, the shade is pulled down and the mysterious blue tinted lighting then comes back. This lights Deckard from the front and Rachael from behind. However in this film we rarely see peoples face completely lit. Such as on Deckard’s face after his test on Rachael, half his face is strongly light from the side while the other half is cast with shadows.

The color palette throughout this film is mainly a combination of the two complimentary colors yellow and blue. Like here where Deckard is wrapped in a blue blanket and his apartment ceiling is a tad yellowish, then looking out from his balcony there are loads of yellow and blue neon lights in the distance. Then we cut to Pris who is roaming the streets, and again we see the same color palette. Yellow construction stripes, and blue streetlights, even the police lights on the cop car are blue and yellow.

However in this scene “ Scott uses candlelight, or some suggestion of it, to illuminate Tyrell’s very ornate room, this gives everything a redness that fits with the moment when Batty arrives and destroys his maker. The room becomes more of a cave than some swish apartment in a mega skyscraper.” This is very different from the yellow and blue colors typically used in the film, but the red glow from the candles is very appropriate for this scene and definitely suits and goes well with the blood caused by the eerie eye gouging part.

“ In this film light can represent illumination, and also invasion and interrogation.” But it’s with the use of these lights that Scott gives us those subtle highlights and magnificent shadows that gives blade runner its distinct look and feel to it.

Next we’ll move on to one of Ridley Scott’s debatably most famous known film, Black Hawk Down. Which is based on the battle of Mogadishu in Somalia in 1993. Scott worked together with Polish cinematographer Slawomir Idziak to give this film a tremendous color palette that breaks most of the normal conventions for war films. One thing they do stick too for modern war movies is the beach-bypass look was done by color grading in post. This makes for a dirty gritty feel for the image, which has high contrast and really desaturated look to it.

The landscape of Somalia’s dessert is a brownish orange not a typical golden sand color, which implies a sense of distraught and danger. Black tire smoke is a common theme in this film, which contaminates the sky and connotes trouble.

Compare this to the steel barracks that the US soldiers are stationed in. They are light by cool blue halogen lights, which suggests coldness and unfamiliarity. However this is another example of the normal conventions broken. Usually warm tones show a calming and relaxed atmosphere but not in this film.

This scene is when a soldier calls his wife before going out on the mission. It is color graded in postproduction for a very desaturated look. There is hardly any color in any of these shots compared to the rest of the film. Its almost feels like it’s a dream of something in the past, that’s too far out to grab. This is done to show the vast amount of distance between the soldiers and their loved ones back at home and to convey emotion about the soldier’s lives that they left, to come serve for their country.

Then when the soldiers enter the brightly lit Mogadishu, the mission begins. That’s when all the trouble starts and the nice warm orangey tones that usually are supposed to be comforting are now dangerous. The interesting conventions to this color palette are flipped around and are not what viewers are used to.

After tremendous gunfire, lots of gory bloodshed, and a couple black hawks down. Some of the soldiers find shelter in an abandoned building because they are the first to start setting up a perimeter for the first black hawk down. Here we have another cool blue lighting scheme. The lighting is coming through the windows and the holes in the walls. Since we again have a blueish tone here we know that the soldiers are somewhat safer here than outside with the enemies in the brownish orange heat.

With the mission taking longer than expected day starts to turn to night and instead of a traditional blueish moonlight Scott has chosen to take a completely different approach by making it eerie green. There are no blue tones present here. Which suggests that the safety is once again gone. The constant explosions and numerous fires provide an excellent source of light and create warm orange tones, which again represent danger.

The soldiers fight through night and into dawn, which happens to be blue. Safety is returning once again. The soldiers are left to run back to base on foot, as there is not enough room in the convoys. This is last stretch before making it safe and sound back to the base and as soon as they arrive there the color palette returns to regular conventions and everything turn backs to its normal hue.

Finally we’ll look at one of Ridley Scott’s more recent film, Prometheus. Scott shot this film in 3D on a prototype Red cinema camera with polish cinematographer Dariusz Wolski. Prometheus is based in the future and is about a team of explorers and their expedition to a planet far away to discover new life. Although the story plot isn’t amazing, the visuals undoubtedly are.

In this scene, the explorers are getting briefed on their mission by characters Peter Weyland and Vickers who are funding the expedition. Notice how the colors of their suits are visually consistent with the background and fit in perfectly. This is because the wardrobe choices were made to work thematically with all the colors of everything on set.

Then in this scene we see the reoccurring yellow and blue color palette again, that Scott seems to like so much. Motion graphics were used to simulate a holographic computer operating system. Its glows a strong limeish yellow color and has other small images on it most of which are a complementary light blue.

Or in this scene where the main character Shaw is speaking to the captain of the ship. The lighting from this room gives off strong yellow tones with subtle hint of blue from their suits and the monitors on the cabinets. The yellowish tone here is very strong but compared but the cool blue lighting in the hallway this separates the two different areas as well as works together with the color palette.

Another example is the video camera interface from the characters spacesuits that relays back to their ship are also yellow and blue. Or how about the spacesuits themselves? They are a dark blue and attached inside the helmets, are bright florescent yellow lights. Beside the color palette, this was because most of the big sets were lit minimally because they wanted loads of mysterious shadows. This is why they are holding flashlights most of the time and these helmet lights would also allow the viewer to see the characters faces.

In this scene where David is talking to Dr. Holloway, from the behind the scenes footage we can tell these shots are light from many different places including from above as well as from behind with the bright lights on the wall. It is well light but compared to the shots from the movie it seems really dark. This was done by colorist Steven Nakamura in postproduction by crushing down the blacks with color grading software Davinci resolve. He also enhances colors with more saturation to both of their green shirts and the blue from the pool table.

Ridley Scott’s lighting technique and use of color palette differs from film to film. Depending on the atmosphere or mood he trying to create he does this by his unique lighting style and use of shadows. He also use colors palettes to break conventions and tell a story of its own. Even though it takes many people to work to get his film made, Ridley Scott is definitely an auteur because he is a dedicated director and does an extensive amount of preparation for his each one of his films.


Clark, James (2002). Ridley Scott. London: Virgin Books LTD. pg 66-69

Radulescu, Roxy . (2012). Ridley Scott Week. Available: Last accessed 5th May 2014.

Botkin, Isaac. (2009). Color Theory for Cinematographers. Available: Last accessed 5th May 2014.

Parrill, WIlliam (2011). Ridley Scott, A Critical Filmography. North Carolina: MacFarland and Company INC. 108-115.

Taboada, E. (2013). Recreating the Shot: a Lesson in Lighting Through ‘Blade Runner. Available: Last accessed 5th May 2014.


Unit 2 Criteria: 3.1, 3.2 & 3.3 and Unit 4 Criteria: 3.1

Following the approval of your proposal, conduct and write your proposed investigation.

Whilst conducting your investigation apply research methods and procedures to aid your investigation, whilst ensuring the accuracy and validity of your research material.

Record a diary of your investigation and the progress you make when constructing your final research document, using: images; videos; text, audio; etc



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For this project I had to justify that there was enough research material out there on this topic. I researched online and there was quite a few websites on the topic of Ridley Scotts lighting techniques and colour palettes. There were plenty of forums online where the general public would come together and discuss films but I decided to discard using these as a source as I couldn’t prove if they were reliable enough. Above is a screenshot from a website which I obtained a few stills for my video. is an excellent website that takes still images from movies and generates color swatches from this image. This website was very helpful and provided excellent examples from many different films of Ridley Scott.

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Besides using websites I also wanted to find journal articles as they would also be more reliable but after looking on Google Scholar and Taylor and Francis I unfortunately wasn’t able to find anything on the topic. So I wanted to use as many books as I possibly could. I looked in the college library and there was only one book available on Ridley Scott, which was by James Clarke called Ridley Scott (pictured above and left). I tied looking at the local library but they didn’t seem to have books. I knew it would be difficult to obtain books from the library on this topic as it was so specific, but I didn’t think it would be that difficult. So I purchase a downloadable online book from for £15 called Ridley Scott: A Critical Filmography by William B Parrill (pictures above and right). Both of these books gave me a better understanding of the way Ridley Scott worked while making his movies.

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Above are the three Ridley Scott films I choose to analyze in my final video. I narrowed it down To Blade Runner, Black Hawk Down, and Prometheus. I picked these three films because they are all from different decades and all had something different to offer. Such as Blade Runner having an excellent lighting scheme, Black Hawk Down breaks the normal colour pallete conventions, and Prometheus has loads of good example to offer as it it one of Ridley Scott’s most recent films. Unfortunately I decided not to use films like Robin Hood and Gladiator which have really good color palettes and lighting used. I did this because I wanted to just focus one three films rather than jumping from film to film in my video edit.


Unit 2: Criteria: 1.1, 2.1 & 2.2

Unit 4:Criteria: 2.1, 2.2 & 2.3




Present and justify a planned proposal for your investigation. The proposal you submit will evidence your independent Investigation towards the end of semester two.


research proposal

For this task we were able to choose anything we were interested in within the media field. We did a Colour Grading project last semester and since then I have been looking at colours in films a bit differently. I find colour palettes in films really interesting and I now always ask, myself why these colors are selected for theses scenes and what purpose do they serve?. There are many answers these questions but I thought I’d take a deeper look into why directors choose their color palettes for their films. Also since my lighting unit last year I also wanted to analyze specific lighting styles that directors have. After talking with my lecturer Paul Smith he said I should narrow it down to one director. So I choose Ridley Scott, as he is a well established film maker that has plenty of movies with wonderful lighting techniques and color palettes. Below is my proposal form which I submitted.

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In my research proposal I had to justify that there was enough research materials out there to conduct my analysis. I found several books and websites which I knew would help me with my investigation. I decided early on that I would present this project in a video with a voiceover. I would take numerous films that Ridley Scott has directed and take specific scenes that are good examples and edit them together while discussing his lighting style and use of colour palette. I choose to do this as well as looking at research material, because there is no other better way to analyze films colour palettes and lighting style then by watching the movies themselves.

Unit 4  Criteria: 1.1, 1.2 & 1.3

This task will see you exporting your models into a game engine. You must take account of the file size and file type with regard to the chosen game engine. This criteria will include preparing your models for export such as decisions regarding polygon counts etc.



For this task we were taught how to properly export out our finished models. First we learned a technique called baking. Baking or ‘baking out textures’ flattens out your 3D model into a single UV image and is exported individually by: Diffusion, Shadows, Reflectance, Ambient Occlusion, Emittance, Opacity, and Specular Highlights. The advantages of separating these things is to save time by rendering these things(sort of like a cache in a sense), and if you need to make any future changes to anything you can modify them by themselves.

So instead of baking out our models we decided that since it was our first time doing this we would just bake out a simple cube. On the top we extruded it inwards a bit so it could add a bit of shadows. We textured the cube with the cloud texture and coloured them pink. Then we baked individually, the diffusion, shadows, textures, and ambient occlusion (pictured below). Then we put these files in the proper folders, ready to be imported and opened up into a gaming software.

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Next we learned about passes which uses the nodal compositing system. Which is basically the same as baking only for film or animation.We used an textured oil can that our lecturer Tony designed.  This had a few base colours, and a few textures, like rust, and a logo. Again just like baking we rendered these passes individually, the diffusion, shadows, textures, specular highlights, and ambient occlusion (pictured below). Then we exported them out individually by saving them in the correct folders ready to be imported by another video program.

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 Criteria 4.1

Evaluate your Idea

Critically evaluate the success of the completed project

Consider the success of the artifact in terms of technical quality and fitness for purpose in accordance with your original brief as well as the working practices and production skills used and developed.

Present it as a final blog entry on your individual Blogs and at the end present a simple action plan that highlights your ability to improve in the future.



The role of a producer is to plan and organize the day to day production of a film. They are usually well established in the acting community and have many locations at there disposal. They are the direct link between these things and the movie director. Our purpose for this project was just to do the same and get this film made.

So how do I think my group did for this unit? I believe that Gareth and myself were very successful in this producer project even though the final video was never made. We had set everything up to the best of our abilities. We  made necessary script amendments as well as acquired actors, and locations in place for filming but it all fell through. But at least we had set everything up in place so if it was going to happen everything would have run really smoothly. And who knows? We could potentially still film it because everything is still properly set up.

Acquiring locations for this story I believe was really simple for our group. It was very convenient that most of the setting was in a pub and I happened to work at a pub. Plus my boss is really nice and said I could film there whenever I needed to. It was especially good as the pub is set in a nice rural setting and could double as multiple locations. Outdoors next to a canal/ and indoors which has 2 bars a restaurant, a TV area, a Snug, and a back garden.

Personally I thought getting actors was probably the most difficult aspect to this project unlike sorting the locations out. We wanted older more believable and experienced actors. Our lecturer Jon Holmes gave us contact information of a former student who is well established with loads of actors who are in the local area, however he never responded back to any of our e-mails. So unfortunately we had to settle for some level 3 actors from the college instead. Although they aren’t as old or experienced as we would have liked, we had no other choice unless we wanted to fork out some cash for some professional actors.

Reflecting back on this task, I really enjoyed acting as a producer. I think I would have liked it more if it was for a project of my own, so I didn’t have to rely on other parties but overall I would say it was a good experience. Gareth and I did our job as producers and ticked off all the boxes that we needed to do. However saying that I do think there are a few things we could have improved on. Such as in our regular meetings we had with Jai Masters, since he was the only one turning up to theses meetings, we should kept insisting to him to let his group know that it was required to turn up and be involved so everyone was kept well informed.

If I was to get another opportunity to properly produce something like this again in the future I would definitely try to keep everyone in the loop, and if they weren’t interested in doing any work, then I would find someone who was. If I were to have another go at this I think I would focus more toward getting suitable actors for the position as it comes across as more believable in the film. Also I would have like to follow through with some of our other ideas. For instance getting the media make-up department to provide us with makeup so our characters could look older possibly with wrinkles and dyed grey hair.

This has been a real learning experience for me and I’ve gained a lot of organization and communication skills in the process of being a producer. I realize that some aspects of it can be really easy but others a bit more difficult. but I guess thats with almost everything right?

Criteria: 4.1 & 4.2  





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This task will see you texturing your models in preparation to exporting them into the game. You should use industry standard techniques to complete this task. Once again higher order techniques might need further explanation through a BLOG or log.



For this unit we had our lecturer Jon Holmes show us some more complex texturing techniques for our models rather than just adding colors and images from the web. For this we used already built test model ‘suzanne’ the monkey. For this lesson we decided that we were going to texture it a very heavy metal but not a shiny metal, we wanted this to be a rusted metal that has been left in the jungle for hundreds and hundreds of years.

First I opened Blender and added the monkey in. I changed the rendering from blender render to cycles render. This is a more efficient and less time consuming way to render because it renders in real time which really comes in handy. Then I added a subdivision surface and then smoothed it out a bit by pressing the smooth button.

Screen Shot 2014-05-01 at 10.27.12

Next I had to light the model by using 3 point lighting by adding planes and setting them to luminance (pictured above). I then selected the proper strength to these lights so I could see what I was texturing. After this we then discussed the order of operations to build a ‘shader’. A ‘shader’ is the procedure of using nodal texturing. Nodes are a much easier way of editing then layers are. This allows the user to change or delete one area without effecting other areas which is really ideal. First you color the model or diffuse it. Second you add in detail otherwise know as bump mapping or displacement.  Then finally you add in the proper reflectance or gloss to it.

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(Above) I diffused the model by adding an old metal texture that I found online, which I made seamless using the application GIMP. I did this by adding a image texture node then connected it to the texture coordinate node so the image would cover the model. However the texture looked more like stone rather than a metal but I would fix this later on in the ‘shader’ process.

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Then I started the second stage of my ‘shader’ by doing my displacement or bump mapping. This creates all the bumps and the indents of the model. I did this by duplicating the image texture and the texture coordinate nodes and adding a color ramp node. This color ramp node allowed me to tell the model where I wanted it bumpy and where I wanted it indented and this is by controlling how strong I want the white and black areas. I then added a multiply node and plugged it in the displacement in the material output node. The multiply node allowed me to adjust how bumpy or not bumpy I wanted the values to be.

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(Above) Finally to complete the ‘shader’ I added the proper reflectance to my model. I did this by adding a glossy node and connecting it to mix shader. Then once I got it the way I wanted it looking I connected the glossy node, the color ramp node, and the diffuse node all into the mix shader and plug that all back in the material output. (Below) Finally after tweaking all the settings to how I wanted them I ended up with this texture for the model. I believe that this would be suitable for a rusty metal monkey head that has been left in the jungle for hundreds and hundreds of years.

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For our second session of texturing models we wanted to have a go at texturing one of our models. I picked the one I liked the most which is the spray paint can that I did. I wanted to make it really rusty like it had been left outside in the rain for ages. Below is the before and after of this model. And I will explain the process i went through to get to this stage.


So to fully understand what a rusted chrome spray paint can looks like I did some research online a found a couple of reference photos. So differed from others but i found a few that I really liked. This picture (below) is one I particularly thought was a good reference for texturing this model. Since there are a multiple cans in this picture, I decided to choose the second one from the right as it had rust as well as chips of paint on it which would be great for texturing.


Rusted Metal BackgroundFirst I looked online for a rusty metal. I found loads but I really wanted one that had a reddish tone like the ones pictured above. so After looking hard for a good ten or fifteen minutes I came across a really nice one that I liked (pictured right). This rust had a good texture to it. The picture was evenly light and there were no water marks so it was perfect to used for texturing. So after making this image seamless using GIMP, I added a image texture node and connected it to a object texture coordinate node (pictured below). However it wasn’t a so smooth toward the bottom of the can. So I had to add a mapping node and this allowed me to scale and rotate the image to get rid of the inconsistencies toward  the bottom of the can.

Screen Shot 2014-05-08 at 13.45.43

T_Rusty_Scratched_Metal_0691361Next I added in a second image in to go on the top of this image. This image (pictured right) was to be the top layer of the paint can. I did this by duplicating the image texture, texture coordinate, and mapping nodes. But the paint was too white for me which did seem dirty and rusty enough for sitting in the rain for ages. So I added an RGB Curves node and adjusted this properly. Next I created a matte by using another image to show where the rust should shine through the paint. This means using black and whites to define the two using a color ramp node. So I duplicated the image texture, texture coordinate, and mapping nodes again and connected it to the color ramp node. I created a bump map by adding a multiply node to the color ramp node and adjusting it to how I wanted. However the image looked bumpy enough already so I didn’t have to adjust it much. Finally I added in my reflectance by adding in a glossy node. Below is a screen shot of the all the nodes together, as well as them being marked correctly so I know which one was which, because once you get quite a few it does become difficult to remember which one does what.

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Unit 69: Criteria 3.1, 3.2

Research and Originate a detailed 2 sided A4 proposal, which must then be saved as a PDF document and attached to your WordPress blog under the required section for this Task.

The proposal must contain the following sections:

  • The Specific Aim and/or Requirements of the GeneroTV Project you have selected
  • The specific Mission Statement/Brand image of the artist/company you have chosen
  • The specific production objectives of your response to the client Brief:
    • Core Aim/Themes
    • Target Audience
    • Stylistic/Formal Techniques you will use
    • Budget/Schedule
  • The Legal and Ethical considerations that effect your response to the Client Brief


The Proposal must be supported by a Critical assessment of the original client brief and a Critical justification of how your proposal meets the needs of the original client brief.


This critical reflection must not exceed 1000 words or 3 minutes and be placed on your WordPress Blog alongside the proposal document.


Unfortunately for this task I won’t be doing an actual Genero Tv brief, as I was unlucky with the risk reward of playing the waiting game for new project briefs to start. So instead I spoke with my lecturer Jon Holmes and he said that I could do another MO Film instead, and this would meet the criteria for this unit.  So after looking at the open Mo film project briefs (there were many unlike Genero) I choose the brief that appealed to me the most, Nestle Rolo. Below is the brief  that I downloaded from Mo films website for Nestle Rolo.


To download the A4 Proposal for Nestle Rolo: Click Here


ROLO Filmmaker Brief


Launched over 70 years ago ROLO is one of the most iconic, well-loved confectionery brands

in the UK. It’s not just the iconic product and packaging that makes it loved, it also has one

of the highest ever recalled advertising straplines withdo you love anyone enough to give 

them your last ROLO?” This unique positioning was developed and advertised through a 10-

year campaign in the 1980’s, and truly cemented ROLO’s positioning and associations with

love, romance and a little bit of humour.


This campaign resonates strongly with our core ROLO consumers (adults!30+)and our

opportunity is to rekindle that association and love, whilst attracting the next generation of

ROLO consumers.



“When you are down to your last, delicious ROLO, it has to be someone extra special that

would be worthy of receiving it”– & this tension between the love of ROLO & the love

for another that is the catalyst for future communications.

ROLO consumers have a balanced, optimistic attitude to life (and chocolate) who love

seizing special moments and finding ways to capture them. What’s most important to them

is spending time with their loved ones, and for these consumers the “last ROLO” acts as a

symbol of that love and affection, but do you love them enough to part with it?


What we want:

ROLO wants to re-ignite the well-loved brand equity by bringing the iconic strapline and

positioning back to today’s group of consumers. Taking inspiration from the heritage and

associations we want you to make the next ROLO advert.

We want you to make a film that captures that tension of a person who loves the

indulgence of their ROLO and whether they share the last ROLO with a loved one so

answering the question…


“‘Do you love anyone enough to give them your last ROLO?’

Executional mandatories:

  • Can be live action or animation
  • Must feature the ROLO product
  • Format to use is the 52g Tube
  • Animated Nestle End frame to be provided
  • No children to be used in the adverts
  • Should look to incorporate the strapline either visually or verbally


Tone: light hearted, warm, loving, playful, humorous (subtle & not slapstick.)

Brand Personality: ROLO is thoughtful, affectionate and a bit of a tease 

Length: up to 60 seconds with ability to cut down to 30

Use: TV, Cinema or online

Target: Adult (male and female) 20 years+

Audience: Global

With all this in mind I did some research and came across a few do you love anyone enough to give them you last Rolo videos. Above is one that I liked from the 80’s. Its a simple humorous animation and it was good to see something like this because I believe this is the thing Rolo is potentially looking for but with more pizzaz.

My aim is to create something humorous that people can enjoy. So I came up with the idea of the main character enjoying a pack of Rolos by himself and when he gets to the last one his shadow on the wall comes alive and is begging for the last scrumptious morsel. The main character is un-impressed that his shadow is not following his movement anymore but instead requires proof that his shadow deserves this last Rolo more than himself.

For this the lighting must be right, so the shadow is very prominent but not too in your face. I want the lights to look natural and not too over the top and false. (Below at the Bottom) I have drawn a storyboard example of the shots that I want. This is subject to change but it was mostly to get a feel of what I will be shooting.

With my own equipment and lending the lighting kit from college I don’t think it should cost more than 20 pounds for the budget. This will be for public transportation and of course the Rolos. The shoot should take a day and the editing will also take about a day. I will edit this in Adobe After Effects to achieve the shadow having a life of its own. I haven’t considered the music to be used but I will most likely use music from the Mo films website.

Since this is a French competition and Nestle wants to show this globally I have decided not to use any dialogue as it can be used multi-culturally instead of being dubbed over. I enjoy that the brief is asking for it to be humorous and lighthearted which is why it appealed to me the most. Hopefully this idea with some more planning can be executed well enough and become shortlisted. The deadline is May the 12th 2014, so with all this planning I should have it submitted by then with loads of time to spare.

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Unfortunately I wasn’t happy with the results of the shots I recorded for this project so the idea has fallen through. I couldn’t get the lighting for the shadow to be right. I knew that the lighting would essentially be the most difficult part for shooting this video but I did not now the extent of how difficult it actually would be.

I booked the lighting kit out from college and spent almost all day trying to get it right but just couldn’t. I needed the actor to be on one side of the frame and the shadow to be on the other so I could easily merge the two clips together using masks in Adobe After Effects. But this did not happen. No matter where I seemed to positioned the light the shadow always fell right next to the character. I tried moving the camera and this also didn’t work. I moved the actor around and this seem to work but in the end he looked too much in an awkward position and it seemed too unnatural for the viewer.

For task three Im going to use the extra Mo Film I did for the music video group Hudson Taylor. I think this best suits Genero TV because it’s actually a music video which Genero usually does unlike an advertisement instead. I apologize for the inconvenience of this because I really wanted this video to happen as I really enjoyed the idea I came up with. In the future I will try to figure out a way to complete this shadow technique so I actually know what to do in that situation if I ever needed to do it.

Although I did help Vicky with her Rolo idea and also did my own edit because I still wanted to do something for the Rolo contest so below I have a screenshot of myself editing the video in Adobe Premier CS3 as well as the final video. I stuck to the brief and made the video under three seconds and included the tagline, do you love anyone enough to give them your last Rolo? I also didn’t use any dialogue (besides my name once) so it could be used multi culturally.

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Unit 80: Criteria: 2.1 &; 2.2