The Production Process of a Video Campaign for The UL Vikings Club.

_____________________________________________________________

The Production Process of a Video Campaign for

The UL Vikings Club

Final Year Report

Name : Killian Vigna

ID : 10129758

Course : LM113

Supervisor : Michael Coughlan

Authors Declaration

I, the undersigned declare that this project which I am submitting is all my own work and

has not been previously submitted to this or any other University/Institution.

_______________________________________

Print Name

Signature: ______________________________ Date: / /

Acknowledgments

I would like to acknowledge and give thanks to the following people for their support

throughout this project:

Mr. Michael Coughlan for his advice, support, creative thinking and for always making

himself available to discuss the project.

Killian Stone, Tara Donoghue, Claire Lucy, Shane Connolly, Bridget O’Mahony, Brian

Lillis and Georgina Lannin for their feedback on the numerous script and editing

changes.

The UL Vikings for their participation to make this campaign project happen.

My family for their support and patience with me throughout this whole process and

friends for helping spread the Vikings campaign online.

Project Summary

The aim of this project is to create a video campaign for the UL Vikings American

football club. There will be two videos each of approximately one minute in length. The

campaign videos will be produced for a University of Limerick based club. The chosen

organisation for the campaign is the UL Vikings, an American football team involved in

the UL Wolves Clubs & Societies. The key stages included in this project are: Research,

Process (Pre-production, Production and Post-Production), Scene Breakdown, YouTube

Analytics and Conclusion.

Once filmed and produced the videos were uploaded to a YouTube channel. Using

YouTube’s views reports allows us to compare both videos and understand the analytics

behind creating a campaign video. These visual graphs reveal findings on how many

times each video was viewed, the traffic source behind each video, devices used to view

the videos and audience retention to find the estimated percentage of each video viewed.

Table Of Contents

CHAPTER 1: INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

1.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

1.2 Motivation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

1.3 Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

CHAPTER 2: RESEARCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

2.1 The UL and Norsemen Viking’s - A Brief History . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

2.1.1 The UL Vikings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

2.1.2 The Norsemen Vikings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

2.2 YouTube and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

2.3 Campaign Videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

2.4 Software Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2.4.1 Adobe Final Cut Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2.4.2 Adobe After Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

2.4.3 Adobe Premier Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

CHAPTER 3: PROCESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3.1 Pre-Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3.1.1 Script Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

3.1.1.1 Script 1: The Vikings are coming (Part 1) . . . . . . . . . . . . . . . . . . . . 11

3.1.1.2 Script 2: The Vikings are coming (Part 2) . . . . . . . . . . . . . . . . . . . . 11

3.1.2 Storyboarding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

3.1.2.1 Storyboard 1: The Vikings are coming (Part 1) . . . . . . . . . . . . . . . .13

3.1.2.2 Storyboard 2: The Vikings are coming (Part 2) . . . . . . . . . . . . . . . .14

3.2 Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

3.2.1 Filming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

3.2.1.1 Film 1: The Vikings are coming (Part 1) . . . . . . . . . . . . . . . . . . . . . 17

3.2.1.2 Film 2: The Vikings are coming (Part 2) . . . . . . . . . . . . . . . . . . . . . 18

3.2.2 Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

3.3 Post-Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

3.3.1 Video and Audio Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

CHAPTER 4: YouTube Analysis Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

4.1 Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

4.2 Traffic Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

4.3 Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

4.4 Audience Retention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

CHAPTER 5: CONCLUSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

CHAPTER 6: APPENDICES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

6.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

6.2 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

6.3 Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Table Of Figures

Figure 1 – The Vikings are coming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Figure 2 – Vikings Football . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Figure 3 – UL Vikings Logo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Figure 4 – RGB Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Figure 5 - Before and After . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Figure 6 – Before and After . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Figure 7 – Transform Effect Before and After . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Figure 8 – (Part 1) Views Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Figure 9 – (Part 2) Views Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Figure 10 – (Part 1) Traffic Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Figure 11 – (Part 2) Traffic Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Figure 12 – (Part 1) Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Figure 13 – (Part 2) Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Figure 14 – (Part 1) Audience Retention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Figure 15 – (Part 2) Audience Retention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

1

Introduction

1.1 Introduction

The aim of this project is to create a video campaign for the UL Vikings American

football club. This process included script-writing, storyboarding, filming and editing

two one minute long videos with the campaign pitch for both of these videos being ‘The

Viking’s are coming’. Each video was then uploaded to a YouTube account where

YouTube Analytics, a smart, intuitive tool that gives key information about a YouTube

audience and video performance, will reveal visual graphs. This provides findings on

how many times each video was viewed, the traffic source behind each video, devices

used to view the videos and audio retention to find the estimated percentage of each

video was viewed.

1.2 Motivation

The motivation behind this project came from an interest in writing short story scripts,

filming and editing videos for viewers to enjoy. Alongside this it has been a sentiment of

mine to work in an advertising agency creating various video campaigns. When reading

through the FYP proposals booklet there was a proposal to create a viral video campaign

for a topic or organisation of choice. This was my topic of interest at first, but as I have a

love for inspirational and sporting campaign videos by companies like Guinness,

Budweiser, and Lucozade, and sport giants such as Nike, Adidas and Under Armour, I

proposed my own idea of writing and producing a campaign video for a UL American

football team. Not only did this task entail creating a campaign video for my club of

choice, but it also involved creating two interlinking videos, making sure both videos

portrayed a clear message, that is: ‘The Vikings are coming’, and I had to do this without

losing sight of the campaigns objectives and continuity. This was something which I had

never done, and I was very interested in such a task.

When deciding on which FYP to pick or propose I wanted to make sure it would be a

project I was interested in doing. Not only did I want to have an interest in it, but I also

wanted to make sure it was a project I could use to showcase the skills I learned

throughout the course of my degree and Co-op placement. While on work placement my

2

role involved filming, editing, and producing five three minute long segments a week,

covering community events and happenings within Dublin City Centre, before sending

them to be broadcast on UPC.

This workload provided me with essential freelance camera operating skills where

it was necessary to adapt to various environments and conditions. In the editing room

tasks would include having to overcome a range of video and audio technical difficulties

that required attention. I wanted to produce a project that would allow me to incorporate

this form of freelance production with the scriptwriting and storyboarding skills obtained

in my video modules. The club I chose was the UL Viking’s American Football team as

it is a club I am currently passionately involved in. Basing my FYP on a club I have a

personal involvement with helps further the motivation for producing two campaign

videos to best portray what the club represents.

1.3 Objectives

The primary objective of this project is to create two campaign videos for the University

of Limerick Viking’s American Football team. The main objective of the online

campaign videos is to expand the teams following for their 2014 Shamrock Bowl (All-

Ireland) campaign. While the Vikings were once one of the most successful teams in the

country, the past few years have seen

them slowly drop down the rankings as

newer and younger teams

enter the league, in addition

to having a reduced financial

budget within the UL Wolves

Clubs and Societies. The

campaign videos are a push

on the reforming of the UL

Vikings new team, coaching

staff and committee both in

the league and the Clubs and

Societies organisation itself.

Figure 1 – The Vikings are coming

3

‘The Viking’s are coming’ is the slogan used to show the push of the newly evolved

organisation, as well as to highlight our country’s own fearful past experiences of

Vikings invading and pillaging in Ireland. The aim of this slogan is to create a story that

captures a crossover between the fear and brutality of the Norsemen Viking invasions of

force and raids, to the modern UL Viking’s re-developed sports team, their clashes

between various opponents, and their aspiration to become 2014 Shamrock bowl

champions.

Research

2.1 The UL and Norsemen Viking’s - A Brief History

To fully develop the campaigns aim of combining history’s Norsemen Vikings with the

modern day University of Limerick Vikings, this section will outline a brief history about

who the UL Vikings are and the sport’s governing body they participate in. Following

this, a general history of the Norsemen Vikings and their traits will be given to

understand how they will be incorporated into the campaign story, creating a link

between the brutality and fear of pillaging to the modern age league domination.

2.1.1 The UL Viking’s

The UL Vikings are an American football team from the University of Limerick in

Ireland. Formed in 1991 as a Flag Football

team, they entered their first full

contact kitted Irish American Football

League (IAFL) in 2001. Since then

the Vikings have won three IAFL

Shamrock Bowl titles in 2007, 2008

and 2009 and have made eight

Shamrock Bowl final (All-Ireland)

appearances between 2001 and 2012.

In 2010 the Vikings were officially

Figure 2 – Vikings Football

4

ranked 18th in the European Federation of American Football (EFAF) the governing

body of American Football in Europe. [1]

The IAFL is the governing body of full contact adult American Football in Ireland, which

uses official National Collegiate Athletic Association (NCAA) rules, and consists of two

divisions between the Republic and North of Ireland. The UL Vikings compete with nine

other teams in the top division Shamrock Bowl Conference (SBC), which includes the

Belfast Trojans, Craigavon Cowboys, Carrickfergus Knights, Dublin Dragons, Dublin

Rebels, North Kildare Reapers, Trinity College Dublin, West Dublin Rhinos and

Waterford Wolves. [2]

The European Federation of American Football is recognized as the continental

federation for Europe which includes thirty national federations and over 100,000

members. Their aims and goals include promoting and developing the game of American

Football by organizing European competitions, tournaments and games. [3]

2.1.2 The Norsemen Viking’s

Due to the scarcity of land available to young nobles and warriors in the 700’s in

Scandinavia, groups of Noblemen had to look elsewhere for land and money. With

nothing to lose these groups of warriors were forced to head down coast using longboats

in order to pillage new settlements where they could trade for money to make a living.

Sailing the North Sea these newly termed ‘Viking’s’ began their raids in Britain before

moving onto France, and eventually onto Ireland in 795. Small in numbers at first they

were not as successful as hoped, engaging in hit-and-run raids terrorising local

inhabitants before being quickly driven back to Scandinavia. The Vikings soon began

increasing the size of their forces and planning their attacks better by setting up camps

and raiding further inland, attacking rich monasteries, churches and Irish Lords. [4]

The Vikings were seen as being brutally malicious warriors who had no respect for local

inhabitants. Although they were malicious in their pillaging, some eventually went on to

seek peaceful means for trade. [5]

5

2.2 YouTube and Analysis

Set up in 2005, YouTube is an online video-sharing website which allows users to

upload, share and view a wide range of videos. It is the third most visited site on the

internet to date. [6] Registered users can create a channel where they are able to upload

videos of up to fifteen minutes in length. Users who upload regularly to YouTube are

offered an extension of video length uploads, meaning they can post videos up to twelve

hours in length to their page. [7] Along with being able to view and comment on videos,

users can link and share these clips over various other websites and social networks via a

HTML link.

The site now provides a YouTube partnership program which allows larger

organisations such as the BBC, Vevo and CBS to showcase their own content to

YouTube’s monthly audience of over 70 million users and avail of advertising revenue

generated by viewer traffic. [8] Based on ‘AdSense’ the addition of offering paid

channels is an effort to allow “content creators to earn revenue for their creativity”, in a

bid to contend with rivals such as Netflix and Hulu [9] where all three websites

simultaneously represented roughly 40% of consumer internet traffic in 2010. [10]

YouTube Analytics will be used in the post production stages of the viral campaign

videos. Detailed statistics of each video will be produced using maps, charts and tables

to identify the demographics of both videos and visually show their performances with up

to date metrics and reports.

The Analytics Section can be filtered using three categories:

1) Content Filter

Content Filter allows the user to pick a specific video or channel for analysis

2) Geography

Geography shows the user reports on each video from various sections of the

globe which can be searched by Region, Country or World.

3) Date-Range.

Range gives information between specific time ranges which can be filtered by

week, month, quarter, year and lifetime.

6

The Views Reports section allows the analyst to have a more in-depth understanding of

their videos performance and it has six additional reports:

1) Demographics Report

This identifies the age, gender and geographical location of viewers. However

this is dependent on viewers who are logged into their accounts at the time.

2) Traffic Sources

The traffic sources section shows the analysis how many times the video has been

viewed through their own YouTube channel, and if embedded on other sites,

where and how many times it has been viewed through them.

3) Audience Retention

This section shows the average amount of time each video is viewed for.

4) Engagement Reporting

Here we see how many users subscribed, favourited, commented on, shared,

liked, and disliked each video.

5) Subscriber Report

This report gives information on which video has enticed a subscriber.

6) Sharing Report

This identifies where a video is being shared through, and how many times it has

been shared.

2.3 Campaign Videos

In order to understand the best way of creating a campaign video, the majority of research

took place using YouTube. YouTube allowed for access to an encyclopaedia of videos

by a range of different companies. The campaign videos that provided some of the

inspiration for this project came from such companies as Guinness, and Budweiser and

sports giants such as Nike, Under Armour and Adidas. Although the majority of these

videos were created with the help of numerous professionals, high tech film equipment,

special effects, CGI, and a much larger budget than any student could hope to achieve,

they still provided the essential inspiration in creating the campaign videos for this

project.

7

With campaign videos ranging from between thirty seconds to nearly three minutes in

length, the majority of the researched videos averaged around the one minute mark,

which was the objective for each of the campaign videos for this project. Throughout the

research process, two campaign stories researched were ‘The Secret Tournament’ by

Nike, and ‘The Next Big Thing is Already Here’ by Samsung. The process behind

creating these stories and producing the videos were the sole inspiration behind this

project.

Nike - The Secret Tournament

Launched in March 2002 Nike developed ‘The Secret Tournament’ campaign in a three

month build up to the 2002 South Korea World Cup. Predominantly American sports

based, this campaign was Nike’s attempt to rival soccer brand giants Adidas (a German

company) for global sporting recognition. According to Nike’s vice president for U.S.

brand marketing Trevor Edwards, “In Europe and Latin America and Asia, if you’re not

about football, you don’t count”. [11]

They kicked off their campaign with images of a scorpion applied on various

forms of medium, the first TV commercials emerged with little more than a scorpion and

a pair of football boots. These images increased public interest as to who and what the

brand was about. It was later revealed the scorpion was a representation of Nike’s “quick

and deadly style of play” in contrast to the defensive German (Adidas) style of football.

[12]

The campaign saw 24 elite players (whom Nike believed best represented their

brand, with an apparent absence of German players) split into eight teams of three players

each. The players enter an old tanker which contains a hidden football ground. The idea

of the game being that first goal wins (hence the venomous scorpion’s, each touch

counts).

Directed by Monty Python troupe member Terry Gilliam, the idea behind the three

minute video was not to script each scene, but to have a story in mind and - along with

some minimal special effects for emphasis - allow players the freedom to showcase their

talent through playing freestyle football which was then filmed and later mixed with

some special effects to create a story. [13]

8

Samsung - The Next Big Thing is Already Here

Samsung’s ‘The Next big Thing is Already Here’ is a campaign highlighting the

differences between The Galaxy SIII and the highly anticipated Apple iPhone 5. Unlike

most competitive brand campaigns, Samsung use humour to cleverly poke fun at

consumers of the opposition who wait hours in line for what they believe is ‘the next big

thing’. Without any mention or visual representation of it being an Apple product

consumers are waiting for, it is obvious who Samsung are comparing themselves against.

Directed by Michael Downing we see long lines of ‘Apple heads’ excited about how “the

headphone jack is going to be on the bottom”, and how you have to have an adapter to

use the dock on the new one, but that’s ok because “they make the coolest adaptors”. In

the ad the apple devotees talk about simplistic changes to the new product that they are

waiting for, whereas Samsung highlight the ‘real differences’ such as a larger screen and

file sharing that actually improves usability. Within the first 30 seconds we hear

“Welcome back, I guess that Galaxy SIII didn’t work out?”, with the Samsung user

replying that he’s only saving a spot for someone, which they find ‘uncool’ before later

finding out he’s saving it for his parents. As the ad comes to an end we see the

consumers in line beginning to look regretful for not getting the SIII. [14]

2.4 Software Research

When it came to deciding what software to use for editing the two campaign videos it

was immediately narrowed down to three possible options. The editing software

contemplated was Adobe Premier Pro, Adobe Final Cut Pro and Adobe After Effects. To

obtain the best results through editing and to find software that provided the most

effective tools to work with, researching each editing package beforehand was an

important aspect of finding the right program to edit both campaign videos.

2.4.1 Adobe Final Cut Pro

Already having had prior experience and knowledge with using Final Cut Pro (FCP)

meant that it was probably going to be the editing program of choice. The simplicity of

locating editing tools and navigating around the layout makes it a very popular form of

editing software among students and post-production companies. This program is readily

9

available on all student Apple Macs in the 4th

year assigned Mac room. The unfortunate

thing with editing these campaign videos however is that FCP can only be edited on

Apple products. This meant editing could only be done between college hours and not on

a Windows computer or laptop. Another downfall with using FCP was that to give the

footage a more professional look, files must be exported scene by scene into Adobe After

Effects to access a wider range of editing tools. The constant exporting of files from

Final Cut Pro to After Effects, and back into FCP for piecing the timeline (story) together

meant there would be a drop in quality due to bringing files back and forth between the

two programs. For this project to obtain the best results it was necessary to film in a full

1080p HD format, only to import these files into FCP you must firstly format the

recorded HD files. This means that although HD files can be imported and edited into

FCP, the program is unable to export the final footage in true HD which again results in

the loss of quality.

2.4.2 Adobe After Effects

After Effects (AE) is a great tool for editors who want a wider range of options to create

special effects or animations, for short segments usually only a few seconds in length.

Although AE is a powerful tool in creating special effects, it is slow to use as the system

entails using a variety of complex editing tools and effects which in turn require the user

to render clips quite regularly which cannot be done in the background. Once a video

clip has been edited in AE, playback becomes jumpy and distorted due to the software

having to perform more calculations than the computer or mac’s capability. To resolve

this and allow the edited clip playback smoothly in real time the clip must be regularly

rendered. In turn the editor is left waiting around for large periods of time doing nothing.

It is also not a program one could use to edit a full story with, as it is only used for editing

small segments required to go back to the primary editing programs timeline. This would

result in a lot of importing and exporting files which will again reduce the quality of each

file. Along with the risk of reduced quality using this as a secondary program, it is very

time consuming, and has a much higher waiting time to production time ratio.

10

2.4.3 Adobe Premiere Pro

Having never used Premiere Pro (PP) this was originally overlooked in favour of Final

Cut Pro. It wasn’t until the research process of editing software took place that

recommendations were received about using this program. PP is cross-platform editing

software which allows the user to install the program on either a computer or Mac. An

added benefit of using Premiere Pro is that After Effects is actually an expansion of

Premiere rather than FCP, meaning files are easily transferred between the two programs

without the risk of reducing the quality of footage. With AE being part of PP less time is

spent having to export footage from Premiere Pro to import it in After Effects for editing

and vice versa but has a faster simpler export to function. Unlike FCP where clips must

be formatted before importing them for editing, PP allows for almost any file type from

footage captured on a phone, to raw 5k and HD files to be imported, this means files do

not need to be transcoded before editing takes place. Premiere’s interface allows the user

to easily customise their editing screens layout. Screen sizes and timelines can be easily

customised and resized to suit the editors own preference and easy to remember editing

shortcuts on the keyboard offer a faster smoother editing process and navigation than

Final Cut Pro [15].

At the end of the research process a trial version of Premiere Pro 6 was downloaded for a

mock editing process on my own laptop. This was done to test the differences between

having already worked with both Final Cut Pro and After Effects on previous projects,

and using this new software. It didn’t take long during the trial run stage to discover PP

was going to be the editing software of choice. Packed with a range of new features and

editing tools that excelled over FCP and AE, Premiere Pro 6 offered a more fluid editing

experience. With filming taking place on a hand held DSLR, Premiere’s Warp Stabilizer

feature meant access to smoother and more creative footage eliminating jerking camera

movements. The vast variety of Colour Correction features meant lighting was less of a

burden in the filming stages, as Premiere Pro was capable along with some editing skills

of managing these often overlooked problems. Once the trial version of Premiere Pro 6

had expired, the full software program was downloaded and used to edit both campaign

videos.

11

Process

3.1 Pre-Production

3.1.1 Script writing

3.1.1.1 Script 1: The Vikings are coming (Part 1)

In order to create the opening story, the first of the two videos, Part 1, must capture the

essence of the reorganising of the UL Vikings and the Norsemen Vikings, ‘a band of

young Viking men’ invading and pillaging 900’s Ireland ‘in search of great eminence and

supremacy’. The first story refers back to the Viking invasions of Ireland and the fear

they engendered in local inhabitants ‘to become the most prestigious of them all’. The

objective of the first video is to confuse the audience as to whether or not the narrator is

talking about Norsemen Vikings or some other form of Vikings. This is done by talking

about the Viking landings, followed with a fantasy twist where he exclaims how ‘they

ascended over Dragons, Knights, Admirals, Rebels and Cowboys’ (Teams in the IAFL).

In contrast to Nike’s 2002 World Cup campaign to be the largest global sports brand in

football (over Adidas), we learn the Vikings past objective was ‘to become the most

prestigious of them all’. They are based on a newly resurrected Viking team ready to

reclaim their title as Shamrock Bowl champions having left ‘everything on a ravaged

Dubh Linn battleground’ and eventually defeated.

With the first half of the video boasting of their past glory days, the second half

tells the audience of their preparation for new challenges that lay ahead of them, ‘with

more opponents than ever before, they prepare for battle with Rhinos, Reapers, Trojans,

Trinity and Wolves’.

The video ends with the phrase ‘They may have withdrawn, but the Vikings are

coming’, resembling Samsung’s ‘The Next Big Thing’ emulating the opposition.

3.1.1.2 Script 2: The Vikings are coming (Part 2)

The first campaign video, ‘The Vikings are coming (Part 1) educates the viewers on the

UL Vikings back story and its relation to the Norsemen Vikings and Irish history. The

objective of the second video is a follow up motivational campaign video of these players

preparing for the season that awaits them. Within the majority of the researched sports

12

campaign videos, these companies employ mass emphasis on the glamour and glory of

sports and how they are portrayed today. Athletes known around the world are seen

wearing branded clothing and using top of the range training facilities. These elite

athletes are displayed in short movie style videos performing acrobatic stunts portraying

their skills in games and the rigorous training they go though in order to be the best in

their sport.

Part 2 of ‘The Vikings are coming’ opens with the narrator declaring how just like

‘in battle’, in a game of American football ‘victory is measured in territory gained, and

how well one unit outmanoeuvres the other’. In football and warfare, before a side

makes any form of attack or defence, they must study their opponents and predict what

their every move will be. ‘They strategise in war-rooms’ where coaches and players

study game footage before composing playbooks of their own to outsmart the opposing

team both offensively and defensively. It’s within these war-rooms ‘where the choices

we make, reveal the true nature of our side’. To effectively overcome a team or army, it

can take ‘weeks, months, years of dedication and planning’ to be both physically

prepared in the gym and on the field, and mentally prepared with an understanding of a

playbooks design. Each player must be aware of their positional assignment and their

teammate’s assignment, timing is everything and it takes constant practice in order for

each play to work smoothly and effectively.

The following line represents how the Vikings had been defeated by a team

doubled in size to that of the past Vikings, the narrator declares that ‘It’s not the sum of a

battalion, but their approach to warfare that decides who wins and who loses’. In

medieval times battles were fought in close combat, and much like the start of a game in

American football, ‘men don armour, and line up against their opponent’ in anticipation

for what lays ahead.

‘Steel to steel, helmet to helmet we face them’. Linemen get into position against

each other on the line of scrimmage. The distance between the offensive and defensive

players lined up against each other huddled over the ball in a game is described as being

left ‘with two inches apart’. While they wait for the countdown to the snap of the ball

and battle to commence ‘you stare them in the eye’, ‘you let them know the Vikings are

coming, and the Valkyries are on your side’. This line refers back to the Vikings belief

13

that it’s the Valkyries who decide who lives and dies. In this scenario, the Vikings hope

the Valkyries are on their side this year in obtaining a win over their opponents and

become the 2014 Shamrock Bowl champions.

3.1.2 Storyboarding

3.1.2.1 Storyboard 1: The Vikings are coming (Part 1)

In order to capture the true nature of the Norsemen Vikings it was necessary to film the

first video in a dark forestry scenario.

Scene 1

The opening starts off with a slow pan descending into a dark and dusky forest.

Scene 2

The next scene is a right directional pan along some shrubs where the lone hand of a

member from ‘a band of young Viking men’ is discovered clutching onto a bone shaped

horn.

Scene 3

Scene 2 cross dissolves into scene 3, where an upward pan follows the horn gripped hand

to reveal an individual resting against a tree wearing a helmet and armour. The skywards

pan reflects on how the Vikings once ‘ascended over Dragons, Knights, Admirals, Rebels

and Cowboys’.

Scene 4

In the fourth scene we see the Viking awaken from his resting place and begin to stand

and stretch out after his long awaited rest. The Viking towers above the camera as it

moves upwards from ground to sky level to emphasis the size of the Viking. The long

stiff stretch is a representation of the player’s objective for Vikings ‘to become the most

prestigious of them all’.

Scene 5

14

As the Viking exits to the right of scene 4, he enters from the left of scene 5 walking

through shrubs and foliage symbolising how they left ‘everything on a ravaged Dubh

Linn battleground’ and were defeated. A low level right pan shows only the lower body

of the player as he slowly drags his feet through the shrubs. As only ‘few survived to

return home and recuperate’ he follows the path to the river Shannon alone.

Scene 6

‘With more opponents than ever before’ he enters scene 6 where we watch him from

behind stare past the overgrown trees onto the river as he contemplates about ‘battle with

Rhinos, Reapers, Trojans, Trinity and Wolves’. Here the player sounds the horn across

the river where Vikings once sailed. The sounding of the horn is a beckoning for new

and old Vikings to recuperate as ‘they may have withdrawn’, before the player turns to

face towards the camera with the narrator declaring, ‘but the Vikings are coming’. As the

Vikings walks towards the camera the scene fades out.

Scene 7

As scene 6 closes, scene 7 opens with ‘The UL Vikings’ displayed in the teams blue and

yellow colours. The audio of grunts and moans and the clashing of football players

wearing armour play over the end titles as a crossover from the first to the second video.

The Vikings campaign hashtag #Vikingsforthebowl and their Facebook page link

Facebook.com/UniversityofLimerickVikings are then displayed in a simple clear grey

font for viewers to easily read and follow.

3.1.2.2 Storyboard 2: The Vikings are coming (Part 2)

The storyboarding of the second video is composed of three sections, a beginning, middle

and end. The opening shots reveal the aftermath of a pitch, with shots of an empty

classroom and gym. The middle section displays scenes building up to the start of a

match where players do their pre-game and training warm-ups, before donning armour in

the dressing room. The video comes to a close with the gridiron coming together at the

line of scrimmage in preparation for battle before eventually engaging to form the closing

scenes.

15

Scene 1 & 2

The opening scenes of the second video display shots of the aftermath of a game, a dried

up battle ravaged pitch and an over turned goal post. These scenes are edited in the same

contrast of the dusky first video to add the crossover of the two videos.

Scene 3 & 4

The audio then builds up as scene 3 opens with full colour and a slow push pan towards

empty seats dimly lit where players sit and ‘strategize in war-rooms’. The pull pan in

scene 4 reveals a UL based classroom used by coaches and players who go through

playbooks and game footage ‘where the choices we make, reveal the true nature of our

side’.

Scene 5, 6 & 7

‘Weeks, months, years of dedication and planning’ is illustrated by scenes of a calm

empty University Arena elite gym where players spend endless hours physically

preparing themselves for the season that lies ahead.

Scene 8

The middle section of the video begins with a low level camera pan to the right where we

see several players perform their warm-ups, with only a small number of players in shot

we are told ‘It’s not the sum of a battalion’.

Scene 9, 10 & 11

These three scenes reveal a changing room filled with gear bags, helmets and pads. A

helmet with the Vikings logo facing up tells shows us ‘their approach to warfare that

decides who wins’, followed by scene 10 of a gear bag and scene 11 where we see an

injured players wrist being strapped up, symbolising ‘who loses’.

Scene 12, 13, 14, 15 & 16

16

Three close up shots of players securing their pads is used to display men donning

armour before moving onto scene 15 where the Viking’s defensive unit break their

huddle to ‘line up against their opponents’ and in scene 16 an upward angled camera shot

displays the quarterback calling the play to his towering offence.

Scene 17

The camera switches back to the defensive side fixed on the offensive players meeting

the defence at the line of scrimmage before angling downwards towards the ball in

conjunction with the players crouching into formation where ‘steel to steel, helmet to

helmet, we face them’.

Scene 18

In this scene the viewer is now located behind the quarterback and his offence who ‘with

two inches apart, you stare them in the eye’ as they wait for the countdown to the snap of

the ball. The video ends when the ball is snapped and offensive and defensive linemen

clash together as the quarterback takes the ball to bail backwards and hand it off to the

running back. As the running back runs through the line of scrimmage he is met by

defensive players coming in for the tackle. The scene ends with a defensive player

hitting the ball carrier and being pushed backwards leaving the audience wondering if the

ball carrier was tackled, or if he managed to push through, this scene adds to the mystery

of whether or not the Valkyries be on the Vikings side this season.

Scene 19

The final scene fades out with ‘The UL Vikings’ displayed in the teams blue and yellow

colours The Vikings campaign hashtag #Vikingsforthebowl and their Facebook page link

Facebook.com/UniversityofLimerickVikings are then displayed in a simple clear grey

font for viewers to easily read and follow.

17

3.2 Production

3.2.1 Filming

3.2.1.1 Film 1: The Vikings are coming (Part 1)

In order to achieve the dark grittiness of the Vikings past in Ireland it was vital to film in

a dark and dusky scenario. The chosen location for the first video was Kilmurry forest on

the University of Limerick grounds. The forest was the best location as it is surrounded

by forestry which adds an element of mystery as to where exactly the Viking has

resurrected. Running through the forest is the river Shannon which is how the Vikings

advanced further in land to raid Ireland.

‘The coming of the Vikings’ was filmed in chronological order as this was the

easiest way to shoot the video. Most directors oppose the idea of filming in

chronological script order as scenes may take place in various locations which makes it

more time consuming and requires a larger budget. For this video however there was no

cutaway shots required therefore allowing for a fluid shoot following the Viking directly

from his resting place to the edge of the Shannon.

In order to film part 1 a Day to Night technique was used. To achieve this

technique it was essential to film in an overcast condition with just enough sun light to

avoid any surrounding shadows. Filming for this video only took a day although a test

shoot was set up prior to the final shoot. The test filming was used for location scouting

(where the Viking will be set up, what pathway was most ideal to use without capturing

the surrounding vehicles and buildings and where the best entrance to the river was due

to the river Shannon having been flooded at the time). It was also necessary to use a test

shoot to figure out what camera settings were best suited for the location to achieve a

dark scenario.

A Canon 550d DSLR was booked from the college’s CSIS department and used

in conjunction with an EZ slider and tripod. The EZ slider is a long bar which can mount

onto a tripod and allows the camera to slide left, right, backwards and forwards on the

bar, giving a zoom effect without the footage becoming blurry and unfocussed, which

happens when using the zoom function. Using the EZ bar avoids imitating human

behaviour and creates smooth movements for a neutral observer effect.

18

In order to film in the forest is was necessary to set the camera settings for reduced noise

in low lighting conditions. Noise (grainy footage) was reduced by setting the ISO (the

camera’s sensitivity to light) to between 400 and 600 to keep the forest scenes dark, but

still allow some lighting into the lens. The shutter speed (the amount of time the camera’s

shutter is open) was set at 1/30 frames per second (the recommended shutter speed for

panning motions) and aperture (limits the amount of light that reaches the image) kept at

F/5 for the sharpest image and depth of field. To create a film style shoot, the picture

style contrast was pulled down which allows for better colouring in post editing, and the

picture quality was flattened on the camera. Flattening the image quality reduces the

crisp lines often seen in films and allows the audience to perceive the player and his

surroundings as if they were standing in the forest. The white balance function was set to

blue tungsten. This filter takes any bright colours out of the shot leaving a bluish colour

to make the scene look like it was filmed under moonlight and allows for easier colour

correcting in the post production stages.

3.2.1.2 Film 2: The Vikings are coming (Part 2)

The second video was shot in four locations around UL. Unlike the previous video, this

shoot was not filmed in chronological order due to the various scenes and locations

required. The opening scenes were filmed on McGuire’s field behind the Kilmurry

student village on the University of Limerick grounds. Following this a lecture room was

used in order to film the war-room scenes. The gym session took place in the University

Arena’s elite gym where the UL Vikings hold their weight training sessions. As for the

training scenes, these took place during the day again on the Vikings training grounds,

McGuire’s field.

All scenes in this video, except for the classroom scenes, were filmed by

manually holding the camera without a tripod. Filming in a handheld style instead of

using a tripod or EZ slider gives the viewer a personal point of view. It imitates a

characters point of view and allows the audience the experience of viewing each scene

through someone else’s eyes. The slight movements in the camera add to the build-up of

emotional and psychological tension the video aims to achieve.

19

To film each scene in a mini movie style the picture style contrast was brought

down to a minimum for colour correcting in post editing. The picture quality was also

flattened to reduce the crisp lines for a more realistic perception.

Opening Field Shot

Similarly to the part one video, the opening two scenes of the second video were filmed

in overcast weather conditions using the Day to Night technique. The reason behind this

was to maintain the continuity between the end of part one and the start of part two.

Filming the aftermath of the pitch in this style emphasises the grim nature of the defeated

Vikings past before opening into full colour for the newly resurrected team.

Camera settings: ISO – 400, Shutter Speed – 1/30 fps, Aperture – F/5

Classroom

Filming the classroom scenes took place in a lecture room located in the Kemmy

Business School, UL. These were the only two scenes where a tripod was necessary.

With only two of the three tripod legs extended I was able to push the camera forward

giving a swooping-in effect on a single turned chair facing the camera. This swooping of

the camera imitates the effect of the viewer heading towards the chair ready to sit down.

In the second scene of the classroom, the tripod maintains its same structure only this

time the camera is pulled back from another point of the room. As the camera pulls

backwards it ascends over a row of chairs before declining into the back row seat, giving

the audience the impression of sitting at the back of the class with a full view of the

room.


Elite Gym

Three static shots were chosen to represent the Vikings time in the gym. Filming took

place in an empty weights room to add to the videos build-up of introducing the team.

The deserted gym symbolised the end of the team’s pre-season training. These scenes

include an upright angle from ground level of a towering weights bench and two

dumbbells on the ground. The second scene shows a row of neatly organised power bags

20

perfectly lined up on the ground. The final gym scene sums up the aftermath of the

team’s weight sessions by revealing an ‘Ensure all weight are returned to the correct

place’ sign on the exit door before focussing on a single swinging cable rope.


Changing Room

For filming the changing room scenes the camera was aimed downwards with low level

shots to avoid obvious facial shots of players. The idea behind avoiding full facial shots

is to prevent viewers from recognising player’s faces as this may put a face onto the

campaign. The Vikings are a team and there are no single representatives of the club as

players come and go. Three close-up shots were filmed of players fitting and securing

their football pads with cut a ways of a Vikings helmet laid on the floor, a full opened

gear bag revealing the contents carried by each player, and a close up shot of a player

having his injured wrist strapped up.


McGuire’s Field

Filming outside proved the most difficult due to weather conditions. With the sun

beaming, clear skies and players wearing white jerseys, the reflection of white light

saturated the camera lens and footage became white washed. To reduce the white

washing of footage the ISO was reduced to a minimum while the white balance was

corrected using a plain sheet of white paper. Each shot was filmed as handheld with the

exception of the right side panning as the players performed their jumping jacks warm-

ups. For this scene a tripod was used at its lowest level and the EZ slider attached. This

allowed the camera to smoothly motion to the right and lower towards the ground by

tilting the tripod camera mount.


3.2.2 Audio Recording

A Rode NTG2 condenser shotgun microphone was used with the Roland R-26 handheld

recorder in order to capture the background audio for both videos. The NTG2

21

microphone was chosen due to its full frequency response, low noise and audio

transparency which are effective in picking up ambient sounds. These recorded sounds

were used to play over the end titles of the first video where players can be heard

engaging in contact. In the second video audio recording was used to record the claps

when each unit exits their huddle, when the quarter back counted his cadence down to the

snap of the ball and for recording the shouts and hits for the end of the video.

In order to record the narration for both the first and second video, the recording

studio in the Computer Science & Information Systems building was used. Here the

narrator read through the script using a condenser microphone where the audio was

recorded and mixed on Pro Tools 9. Using the recording studio meant no ambient sounds

would be picked up by the microphone as the live room is insulated for a dead sound.

The narrator was positioned in front of a glass window separating the live recording room

and the mixing room. This meant I could keep an eye on the voice actor and signal him

when recording had commenced and ended. With the narrator wearing headphones I

could activate a talk back button in the control room if necessary when requiring him to

repeat lines. After several auditions, the narrator used was a radio presenter from ULFM.

Using a radio presenter meant he was comfortable behind the microphone, and had an

assertive and persuasive voice with a slight Limerick accent to keep the teams Limerick

roots evident. Also recorded in the studio was the sounding of a horn, this audio was

then captured and imported for the 6th

scene in The Vikings are coming (Part 1).

3.3 Post-Production

3.3.1 Video and Audio Editing

Video editing took place using Adobe Premier Pro. For the Vikings are coming Part 1

there were twelve video files captured, a royalty free soundtrack purchased, four different

narrations recorded and four external audio files used in the editing process. For the

second video there were 222 video files captured, seven ambient audio sounds recorded,

two narrations and a royalty free soundtrack to go through for the final edit.

In Adobe Premiere Pro two different project files were created titled ‘The Vikings

are coming (Part 1)’ and ‘The Vikings are coming (Part 2)’. From here all files were

imported in chronological order according to the storyboards. For example, when

22

choosing the two opening field shots in the second video, twenty captured video files in

the folder ‘Field Cutaways’ were imported into Premiere and titled from numbers 1 to 20.

Once the two best scenes were chosen, they were renamed in the timeline as ‘Field

Cutaway 1’ and ‘Field Cutaway 2’ before deleting the unwanted files to keep a more

manageable timeline. Once all chosen files had been imported, titled and fit into

position, and before any cuts, trims, transitions and editing of scenes took place, the

chosen narrations were trimmed down and spread across the timeline under each clip as a

reference point, and the soundtrack was layered over to adjust the timing of scenes. The

second half of the track was used for the video part 1 and the first half of the track where

the music builds up was used in the part 2 video. For both videos a letterbox template

was added onto the timelines to give both videos a movie look and the Vikings logo was

positioned in the bottom right hand corner with 15% opacity for the footage to remain

visible over the logo. The letterbox template consist of two solid black horizontal lines

which run along the top and bottom of each scene making the videos appear as

widescreen.

Figure 3 – UL Vikings Logo

The chosen soundtrack was an online purchased royalty free soundtrack titled ‘Final

Preparation’ from www.audiomicrophonero.com. [16] The soundtrack is noted on their

website as having a ‘patriotic feel of building defence and gathering the good against the

evil at the battlefield. The track radiates hope and bravery. Appropriate for trailers’ [17]

which describes the objective of both videos. The reason for using a royalty free track

meant there were no copyright issues involved and the videos could be played on

YouTube without the need to pay royalties to any recognised artists.

23

The Vikings are coming (Part 1)

The main editing that took place here was to acquire the Day to Night shoot. Having

already reduced the lighting settings and used a blue-tungsten white balance on the

camera, colour correcting took place to darken scenes where lighting from the sky was

too bright. The main features used for this process were the Hue Saturation, RGB Curves

(Red Green Blue colour grading) and Brightness and Contrast. The first feature used was

the Hue Saturation which allowed me to reduce the clips down to a faint black and white

colour. The RGB Curves feature then allows the editor to increase and decrease the

white, red, green and blue colours used in the scene. In this edit the green curves were

slightly increased to emphasis the surrounding forestry and the blue curves were reduced

in a wave form to avoid shadows and give the effect of the story taking place at dusk.

Figure 4 – RGB Curves

Brightness and contrast levels allow the editor to increase or decrease the brightness and

contrast. These were adjusted to balance the RGB Curves by increasing the brightness

settings to 10% for viewing and keeping the contrast at a balanced 0%. Below is the

before and after using the Day to Night editing technique.

24

Figure 5 - Before and After

The studio recorded horn audio used at the end was originally recorded too short as the

player blows the horn briefly, then holds the horn to his mouth a bit longer before

eventually lowering his arm. To resolve this problem the recorded horn sound was cut

just before it ends and duplicated. The original file and the duplicated file were then

positioned beside each other and blended together using an audio cross dissolve. Using

this feature allowed the ending of the original file and start of the duplicated file to cross

into one sound to match the timing it took the player to blow into the horn, and eventually

lower it.


When filming the second video, a lot of the recorded footage had become saturated due to

the brightness levels on the day and had white washed a lot of scenes. To correct this

there were four main features used Colour, Contrast, Levels and Brightness and Contrast.

Figure 6 – Before and After

Colour, contrast and levels give the ability to reduce the amount of light that white

washed the footage seen in the before picture. This was done by decreasing the white

25

clip levels and increasing the black clip levels of each feature. The brightness for each

outside scene was reduced to an average of -100% and the contrast settings were

increased to around 60% depending on how saturated each scene was.

For scenes 15, 16, 17 and 18 each shot was filmed at different stages throughout

the day. These scenes had to be manipulated and incorporated into having the audience

believe they were all shot chronologically. To achieve this, scenes 17 and 18 were

horizontally inverted using a transform tool. Using this feature meant the image was

flipped over and players were positioned on the opposite side to when originally filmed in

order to have players in the same position and keep continuity fluid.

Figure 7 – Transform Effect Before and After

The ambient audio sounds were recorded using the microphone connected to the camera

for these scenes which meant the audio was automatically synched up to the video

footage and no manual synchronising was necessary.

26

YouTube Analysis Charts

4.1 Views


Figure 8 – (Part 1) Views Chart

27


Figure 9 – (Part 2) Views Chart

28

4.2 Traffic Sources


Figure 10 – (Part 1) Traffic Sources

29


Figure 11 – (Part 2) Traffic Sources

30

4.3 Devices


Figure 12 – (Part 1) Devices

31


Figure 13 – (Part 2) Devices

32

4.4 Audience Retention


Figure 14 – (Part 1) Audience Retention

33


Figure 15 – (Part 2) Audience Retention

34

Conclusion

Overall I consider the UL Vikings campaign to have been a success. The scripts wrote

effectively captured the crossover of the Norsemen Vikings and the modern day UL

players. Both videos received an above 60% audience retention rate which is the

recommended rule of measure for how long the viewer’s attention was kept. The Vikings

are coming Part 2 received an average viewing time of 80%, 8% more than The Vikings

are coming Part 1. In my conclusion I have come to realise that no matter how organised

and far ahead one can plan during the production process, there will always be simple

factors such as weather conditions, booking equipment and editing software malfunctions

that will play a considerable role in preventing you from making the videos happen.

Having experienced all of these obstacles, some more than others, it is an

accomplishment to see the end result of the production process shared and enjoyed

online.

This campaign project has provided me with the opportunity to gain experience in

all stages of the production process. I have learned and gained new experiences

throughout the campaign by learning and developing my researching, script writing,

video and audio recording and editing using new programs, techniques and equipment.

35

Appendices

6.1 References

[1] Wikipedia. University of Limerick Vikings. Available:

http://en.wikipedia.org/wiki/University_of_Limerick_Vikings. Last accessed 23rd Dec 2013.

[2] Irish American Football Association. American Football in Ireland. Available:

http://www.americanfootball.ie/about/. Last accessed 23rd Dec 2013.

[3] European Federation of American Football. About EFAF. Available:

http://www.efaf.info/text.php?Inhalt=aboutus. Last accessed 23rd Dec 2013.

[4] Abbot, P. The Coming of the Vikings. Available:

http://www.wesleyjohnston.com/users/ireland/past/pre_norman_history/vikings.html. Last

accessed 21st Dec 2013.

[5] Goodrich, R. (2013). Viking History: Facts & Myths. Available:

http://www.livescience.com/32087-viking-history-facts-myths.html. Last accessed 21st Dec

2013.

[6] Alexa Internet, Inc. The Top 500 Sites on the Web. Available:

http://www.alexa.com/topsites. Last accessed 9th Dec 2013.

[7] Google support. Upload instructions and settings. Available:

https://support.google.com/youtube/answer/71673. Last accessed 9th Dec 2013.

[8] Weber, T. (2007). BBC strikes Google-YouTube deal. Available:

http://news.bbc.co.uk/2/hi/business/6411017.stm. Last accessed 9th Dec 2013.

[9] BBC News. (2013). YouTube launches pay-to-watch subscription channels. Available:

http://www.bbc.co.uk/news/business-22474715. Last accessed 9th Dec 2013.

[10] Solsman, J. (2013). Netflix, YouTube gobble up half of Internet traffic. Available:

http://news.cnet.com/8301-1023_3-57611722-93/netflix-youtube-gobble-up-half-of-internet-

traffic/. Last accessed 9th Dec 2013.

[11] Wharton. (2003). Secrets of Successful Ad Campaigns: Lessons from Absolut, Nike and

NASCAR. Available:

http://www.wharton.universia.net/index.cfm?fa=viewfeature&id=491&language=english. Last

accessed 12th Dec 2013.

[12] Romero, D. (2011). Strategic Marketing Communication Assignment One – Campaign

Evaluation . Available: http://diromero.files.wordpress.com/2011/09/assignment-1-nike-

final.pdf. Last accessed 18th Dec 2013.

[13] h2g2. (2002). 'The Secret Tournament' - the Nike World Cup 2002 Advert. Available:

http://h2g2.com/edited_entry/A776009. Last accessed 18th Dec 2013.

[14] Gianatasio, D. (2012). Samsung Punches Apple Again, and It Hurts So Good. Available:

http://www.adweek.com/adfreak/samsung-punches-apple-again-and-it-hurts-so-good-143846.

Last accessed 18th Dec 2013.

6.2 Bibliography

Adobe. (2014). Adobe Premiere Pro CC. Available:

http://www.adobe.com/products/premiere.html?promoid=KFNXZ. Last accessed 22nd Jan 2014.

Adobe. (2014). After Efects CC. Available: http://www.adobe.com/ie/products/aftereffects.html.

Last accessed 22nd Jan 2014.

Apple. (2014). Final Cut Pro X. Available: https://www.apple.com/ie/final-cut-pro/. Last

accessed 22nd Jan 2014.

36

Stoyanganev. (2014). Final Preparation. Available: http://www.audiomicro.com/adventure-

action-battle-final-preparation-royalty-free-stock-music-1038024. Last accessed 6th Jan 2014.

37

6.3 Scripts

“The Vikings are coming (Part 1)”

(1.07 minutes)

By

Killian Vigna

38

FADE IN

EXT. KILMURRY FORREST #1 – DUSK

NARRATOR

Over a decade ago a band of young Viking men arrived on Irish shores in search of great

eminence and supremacy.

C - 2) Slow zoom ins alternating between Father and son as they gaze into the fire.


NARRATOR

They ascended over Dragons, Knights, Admirals, Rebels and Cowboys.



NARRATOR

To become the most prestigious of them all.



39

NARRRATOR

Leaving everything on a ravaged Dubh Linn battleground, few survived to return home

and recuperate.

C - 1) Across the dressing room shot of a jersey hanging up with a gear bag and

equipment on the ground, locker light flashing.


NARRATOR

With more opponents than ever before, they prepare for battle with Rhinos, Reapers,

Trojans, Trinity and Wolves.

They may have withdrawn, but the Vikings are coming!

C - 6) Distant shot of the dusky mound of soil surrounded by the dense forest. A

silhouette appears to climb out of the mound with pads still intact, breaking from a

hunched figure before stretching out into a raging stance.

FADE OUT

FADE IN

40

“The Vikings are coming (Part 2)”

(1.08 minutes)

By

Killian Vigna

41

FADE IN

EXT. MCGUIRES FIELD #1 – DUSK

NARRATOR

In battle, victory is measured in territory gained . . .


EXT. MCGUIRES FIELD #2 – DUSK

NARRATOR

And how well one unit outmanoeuvres the other.


INT. CLASSROOM #1

NARRATOR

They strategise in war-rooms . . .


INT. CLASSROOM #1

42

NARRRATOR

Where the choices they make reveal the true nature of our side.

C - 1) Across the dressing room shot of a jersey hanging up with a gear bag and

equipment on the ground, locker light flashing.

INT. GYM #1

NARRATOR

Weeks . .




INT. GYM #2

NARRATOR

Months . .




INT. GYM #3

43

NARRATOR

Years of dedication and planning.




EXT. MCGUIRES FIELD #1 - DAY

NARRATOR

It’s not the sum of a battalion . . .




INT. CHANGING ROOM #1

NARRATOR

But their approach to warfare that decides . . .





44

NARRATOR

Who wins . . .





NARRATOR

And who loses.





NARRATOR

Men don armour . . .





NARRATOR

45

And line up against their opponent








NARRATOR

Steel to steel, helmet to helmet we face them.





NARRATOR

With two inches apart you stare them in the eye.

You let them know the Vikings are coming, and the Valkyries are on your side.




FADE OUT

The Production Process of a Video Campaign for The UL Vikings Club.

Education