All language subtitles for 11 - Technical information gender, screen and target.eng

When preparing the
audiovisual project folder

let's take into account some things
that have nothing to do with the idea,

but yes with the display windows

that we can imagine
that our project can have.

For that we have to start thinking
about how long the chapters will have.

That will directly impact the budget.

What kind of animation will it have,

if it will be cut out,
if it will be stop motion,

that will also impact

in the budget and
they are going to ask us.

We have to think about
who we want to talk to,

what will be the tone,

how are we going to
talk to very young boys,

It is for preschoolers,
for slightly older children.

What will that dynamic be?

So let's briefly go through a
guide to that sort of thing.

that must be taken into
account and that they will help us

to realize what kind of
project we have in hand.

Subtitled by
-♪ online-courses.club ♪-
We compress knowledge for you!
https://t.me/joinchat/ailxpXoW3JVjYzQ1

Let's see what we are talking about
when saying technical information.

Because it is something that
we have to be very clear about

when thinking about our format.

I'm going to show you
the "Siesta Z" folder.

Us on the cover

we put in principle the
character and the title of the series.

And above it says of the
creators of "The Amazing Zamba Tour"

and there's the Emmy Kids Awards icon.

So this allows you
to quickly recognize

who created the series,

who is the character in the series,

what's it called and somehow we
already started to count a little

what is aesthetics about.

Notice there are goodies around Siesta

and it is something that will
be present throughout the series.

This has to do with aesthetics
and we could already start thinking

What is the format intended for
when I have a first impression?

When we turn the page we
see a phrase that says:

"What happens when the dream world

meets the classics of literature? "

Somehow we are talking about the idea.

Do you remember that the idea are two things
that apparently have nothing to do with it?

Dreams and classics of literature

in principle they have nothing to do,

but Siesta is the
result of that union.

And finally we have the page

in which we present technical
data, technical information.

For whom we think the series
and where we develop a little more

something that we will see later
that has to do with the synopsis.

He says: "Siesta can
choose which dreams to dream

and every time she falls asleep

experience the most unusual
adaptations of the classics.

From the Greeks to
Shakespeare, from Jack London's adventures

to the mysterious
worlds of Kafka and Poe.

With Siesta Z the classics
have never been so much fun. "

This is a kind of
synopsis or sale of the series

and that extends a little more the
information that we saw in the idea.

And then there is a little box

and this is a little bit
harder technical information,

which is the title of the series.

The format, this has to do with 40,
the number of episodes per 13 minutes,

and it's animation because maybe
someone can think of it as "live action",

but we clarify that it is animation.

Then in gender, which we
will see a little later,

We already say that it
is comedy and adventure.

We already started to
tell our interlocutor

what kind of format is it and
then we tell it what the target is,

what is the audience we are targeting.

We think it could target an
audience of between six and eleven

because we thought for boys and
girls who are starting to read

and bring the classics closer
to them in a very friendly way.

So, in this way, we in "Siesta Z"

We presented the technical
information and we were dosing on the cover

the presentation of the
project, the aesthetics,

then we hinted at the idea a little
more and finally we told the synopsis

and technical information
about our audiovisual project.

Let's see what we mean
when we talk about gender.

In principle, gender is a category

within which we must
circumscribe our audiovisual project.

We have an
interlocutor or interlocutor,

it can be a producer,
it can be a TV signal

or someone to sell our project to,

and we have to tell you very
quickly within those categories

what is the universe of
expectations you may have about our format.

It is a convention.

Within that
convention, we have some genres

to which we could apply
our audiovisual project.

For example, we could be doing

an action series with
superheroes, an anime,

we could do a project that is
educational and entertaining

or "edutainment"

or pedagogical

like, for example, "The
amazing Zamba excursion"

or "Siesta Z".

Our project could be
adventure, fantasy, science fiction,

perhaps terror could
be a separate genre.

We could do some humor,

a comedy genre, a sitcom or
something with political humor,

parodic or satirical.

Or we could do something
musical for little boys, for example,

with songs to sing,
to dance, karaoke type.

Now notice that
belonging to a specific gender

doesn't mean anything in
relation to the type of animation

that our project may have.

It doesn't matter if we
make a stop motion comedy

or we do a cut out comedy,

like "South Park" for example

or we may be doing
something in 3D superhero

or terror.

In general, gender has nothing to do

with the technique
that we are going to use.

We should separate well
in this gender category

and be very specific in telling
our interlocutor or interlocutor

our TV show, our series

or our short film or feature film

It is a dramatic comedy, it
is a musical with adventures.

Genres can be combined

but it has nothing to do
with the animation type

that we are going to use.

Let's talk about the screen

in which we would like to
see the audiovisual project.

There is always a myth
that it is very difficult

sell an audiovisual
project to a TV channel

or to a streaming platform.

It's not that difficult, if not,
there wouldn't be that many TV shows

or so many audiovisual projects.

The audiovisual world is in
dire need of quality content.

So let's think about our project

and let's imagine what
would be the best stained glass

or the best screen
so we can show that.

Are we thinking
something Disney-style?

Are we thinking of something more
irreverent that parents leave out?

Which could be Cartoon Network.

We think of a project that
combines something scientific,

or something educational, that
maybe could work for Discovery Kids.

Something preschool, something for
teenagers that we could see on Nickelodeon.

Before thinking about the
target, it helps a lot to think,

not necessarily to go
knock on the chain door,

but start thinking about
what the spirit would be,

what would be the ideal
stained glass for our project.

There are also streaming platforms.

Maybe we could also open
our own YouTube channel

and start uploading
some of our material.

But we must also not forget
that there are many alternatives

that do not necessarily have
to do with the most commercial.

There are many, many educational
television networks in the world

they are in dire
need of quality content.

Let's start thinking
about our audience.

In short,
everything we do is for them.

We have to imagine our
audience in front of a screen,

enjoying the content we make.

Beyond that it is useful for
something or has a pedagogical purpose

or maybe it's just entertainment,

we have to think about them and
look at our content and enjoy.

In the case of "The
amazing Zamba excursion",

there was not a single audience.

Yes well when we
were thinking about it

we did it imagining what would
happen to the children's audience,

something magical happened
which is a kind of triangle

in which both teachers

and the parents were also interested.

So if it didn't reach boys
and girls through Pakapaka,

came through the teachers

that showed them "The
amazing Zamba excursion"

for pedagogical purposes

and maybe the
fathers and mothers saw it

and they invited their sons and
daughters to watch the series.

You don't necessarily have to think
only about the children's audience.

We can also think about the classroom

and we can also think
of fathers and mothers.

But let's go specifically to age.

I'm going to use as a
source a study called

"Princesses,
transgressors, passionate and others.

Approach to the habits of
consumption of media content

by the children of Colombia ".

It's a bit long title but it's a study

that Colombia made,

which is a very
prestigious television signal.

We have on one hand boys and
girls from three to five years old,

from six to eight years

and from nine to eleven years old.

We will try to see a little
what are the interests of each

of the boys and
girls of these age ranges

and let's think about our project

and what would be the ideal
audience for what we are thinking about.

Let's start with boys and
girls from three to five years old.

At this age they can
create fantasy worlds all day.

They go from the real world to the
fantastic world from one moment to the next.

They have visual memory because it
is their way of capturing the world.

They are learning the world, so
everything enters through the eyes.

They are good imitators
and learn by imitation.

They like to represent characters
while searching for their identity.

They have a polarized
idea of good and evil,

they think in terms
of hero and villain.

Subtitled by
-♪ online-courses.club ♪-
We compress knowledge for you!
https://t.me/joinchat/ailxpXoW3JVjYzQ1

They like to explore,
expeditions, tongue twisters,

jokes and nature surprises them.

They have low recall of the content.

They don't remember the
whole story but events

that caught their
attention visually or emotionally.

If you ask a boy or a
girl from three to five years

if you liked the story and tell a part

surely they cite the moments
that for them are the most important

but they will hardly tell the
story from beginning to end.

They are in need all the
time and want to have fun.

They laugh at physical actions,
hitting, awkwardness, accidents,

the unusual physical
features of the characters.

They are amused by the "slapstick".

"Slapstick" are the
hits, what we saw in Chaplin,

in Buster Keaton or
in Los Tres Chiflados.

At this age, finally, they have
adult supervision all the time.

For them objects and
people do not continue to exist

when they see them or act on them.

So let's think of this
target as a preschool target

who is not yet in school.

Obviously, he still can't read
or is learning to read and write.

Consider an audience that
has very selective attention

and they can pay attention
for a fairly short period.

And on the other hand they are
also very fascinated by the image.

They are very sincere and very honest
and if they really don't like something

they will not look at it for more
educational interest than it has.

Let's see what
happens in our next segment

which is between six and eight years.

Let's remember that it is the age
at which a formal education begins,

at school in first grade.

At this age, that is, at
the beginning of the six

and end of five, generally speaking,

the whys begin,

they begin to question the
world and what's going on around it.

On the other hand
they are monothematic.

You will see that they
start to obsess over a topic

for a while and
everything revolves around that.

Drawings, TV shows,
decorations, school supplies,

everything revolves, for
example, around dinosaurs,

around the "rollers" and
are fixed with a series

or with a specific topic.

On the other hand, at the
beginning of the class period,

they like group games,

collective actions,
social interaction.

They focus more on the
environment than on themselves

and they like collaboration.

It is a much more social
stage than the previous one.

They can tell anecdotes in a linear
way with beginning, development and end

and they are also
interested in space and speed.

They don't like
stories without fantasy

and they are generally very
gullible in the face of absurd stories.

They are very close to
technology at this age

and they like toys that
have actions in themselves.

He doesn't like static
toys that need imagination,

as perhaps happens in
the previous segment.

What happens when they are
between nine and eleven years old?

I have been told
that after eleven years

boys and girls stop or start
to stop watching animation.

Maybe some will keep that habit,

but, in general, they move to
what is called "live action" or alive

and there is an idea that
animation is for little boys.

Obviously there are many boys and
girls who watch animation all their lives.

I keep watching animation.

At this age there are

"live action" formats that are
beginning to interest you much more.

Or maybe YouTubers or
some other type of series

that draws much more attention.

But let's see what happens here.

At this age his personality reference
is older children with leader attributes

that stand out for some
talent or are different.

They give a lot of
importance to friendships,

Social acceptance begins to
be important, to be accepted.

Independence is your greatest treasure

and they seek to do
activities by themselves.

The idea of
preadolescence begins to appear.

They want to differentiate
themselves from younger children.

They start going to
parties and group activities.

They have a very strong reference

with his school and
neighborhood classmates.

There is beginning to be a
group or group membership idea.

They are further from the
control of their parents,

they have more
decision about what they do,

about what they like
and what they consume.

And they are also more
open to collective practices

maybe already out of school,

such as sports,
dance, art, music, etc.

More or less these three
segments allow us to see

what are the customs.

At least allow us
to think about habits

or what are the
facilities or difficulties

that these three age groups have

to those who are imagining
when thinking about our content.

It is always important to investigate,
it is always important to observe them.

See the possibility of going
to a school, maybe to a place

or some space where
our audience shares games

or share activities and be
able to see them interact

or to be able to
study them in some way

and to imagine ourselves too

to the characters that
we are thinking for them

or imagine them as an
audience for our characters.

Once we are more or less
clear on all these things,

we can start to
think creatively again.

So in the next lesson we will talk
about identification and character,

which is super important
for our audiovisual project.