Summary

This summary page has been written to summarise the requirements of the components, NOT shortcut the necessity to read the more detailed pages. The Component pages and Assessment Objectives pages have detailed checklists, summaries, etc., to enable you to maximise your marks. This page summarises the key points only.

General Advice

From your perspective, you should be:

1. Think Outside the Artist Box: Instead of just focusing on a few photographers or artists, try studying scenes from movies, interesting documentaries, even the way music creates a mood. Anything can inspire you as long as it's related to your project's intentions.

2. Ask Why It Works: After looking at all this cool research, think deeply about how the stuff you find works. How does the movie director use colour to make you feel a certain way? How does the music build tension? Write down what you notice and explain how you could use similar ideas in your own project.

3. Don't Just Do, Reflect:  When you experiment with techniques,  software, or materials, don't just try random things.  Ask yourself: Does this help me achieve what I want? What did I learn from this? Should I keep doing this, or try something different? Write down your answers!

4. Did You Do What You Set Out To Do? Throughout your project, keep your original intention in mind. Think about if you're getting closer to what you envisioned or if you've changed direction a bit. Explain why any changes happened and if they are for the better!

Extra Tips:

• Keep your presentation simple. Think of it like a really well-organised slide show. The examiners should be able to see your entire creative process at a glance.

• Focus on telling your story! All the technical stuff matters, but only as far as it helps you visually communicate your ideas and show what you've learned.

What am I producing?

Two documents (PowerPoint, PDF, etc) need to be submitted for every component:

1. Final outcome

   • This is the final result of your work. It should have your complete, final work with justifications and a summary of how successful it is and how it reflects on your intentions. If mentioning inspirations, there should be a reason for including them in here. If you were asked to write an essay on the Romans, this would be the essay.

2. Supporting evidence

   • This provides evidence of inspirations (other artists' work, your own work) and a critical reflection of them. This also shows the development from initial ideas through to the final product. e.g. development of your script, costuming, feedback, constraints, etc. As with the final outcome, it should have critical reflection. 

If submitting in 2026 onwards, each document MUST be a maximum of 10 slides/pages for components 1 and 2. Component 3 has its own requirements. This is a new requirement and does not affect pupils in 2024 or 2025.

What Should I do:

It is important to understand that assessment objectives are marked independently, but evidence for each will be found throughout your evidence documents. You DO NOT need to reference AOs in your work, but they are shown here because they help group the stages of development. Detailed examples of the differences between AO2 and AO3 are further down this page.

Everything you write about MUST link back to your intentions, or why are you doing it in the first place?!

Theme & Research (AO1)

• Challenge Yourself: Choose a theme that you find personally engaging and can delve into from many angles. Avoid the overly simplistic.

• Go Broad: Think outside the box! Research photographers, digital artists, filmmakers, game designers, web designers...anyone whose work relates to your theme.

• Don't Just Describe, Analyse: Ask tough questions:

  • How does this artist use colour/composition/technology to create a specific effect?

  • What specific techniques could I translate into my own work in a new way?

  • Could I find similar inspiration in movies, architecture, and even music?

• Keep Notes: Write down your observations, connections to your idea, and questions that your research raises.

Exploration & Experimentation (AO2)

• Try Everything! Software, traditional art tools, photography, sound design, 3D modelling, lighting, costuming, makeup... experiment based on your chosen theme and, most importantly, your intentions.

• Push Boundaries: Try unfamiliar things! Even if it fails, you'll learn something valuable about the process and about your own preferences.

• Ask "Why?" After each experiment, pause for reflection:

  • Did this move me closer to my desired effect? Why or why not?

  • What technical skills did I gain or reinforce?

  • Did this lead to surprising new ideas?

• Document the Journey: Take screenshots, photos, and make notes to record your process. Don't just show the final version! The final version will be copied into your final outcomes document.

• Key Questions:

  • What different techniques could I use?

  • How can I combine different media?

  • What unexpected things could I try?

Developing with Purpose (AO3)

• Create a Visual Timeline: Arrange your experiments, sketches, and design iterations to show the progression of your idea.

• Connect Theory to Practice: Explain how your research and experiments directly influenced your decisions. (E.g., “Inspired by [Artist], I used colour contrast to create tension...")

• Get Feedback, Embrace Growth: Seek opinions from teachers (not just Mr Minett), family and peers about what works and what can be improved. Incorporate valuable feedback! You should discuss this feedback. Feedback can be for specific aspects (such as costume, makeup) or for the whole mise en scene, etc. Feedback can be written, verbal, surveys, focus groups, etc. See the feedback lesson for help with this.

• Developing Your Voice: As you make choices, ask yourself:

  • Does this design decision stay true to my theme, vision and intention(s)?

  • What makes my approach different from others who might explore a similar theme? Higher marks for pushing boundaries.

• Be Realistic: Constraints (time, budget, location, external, technical) are a critical and realistic part of the creative industry. Acknowledge these and how you can problem-solve to mitigate them.

  • Acknowledge the Constraint: Briefly state the issue faced. (E.g., "I lacked the 3D modelling skills to create my original character design.")

  • Demonstrate Problem-Solving:  Explain how you adapted or found solutions. Did this force a more creative approach or simplified aesthetic? (E.g., "Instead, I experimented with stylised silhouettes and bold colour to convey personality.")

  • Reflect on Impact: Did the constraint have a positive, negative, or ultimately neutral effect on the work? (E.g., "This simplification improved the visual clarity of my idea and fit the tone better.")

• Key Questions

  • How do my experiments inform my decisions?

  • What needs improvement, and how can I achieve that?

  • How can I stay true to my intentions while incorporating lessons learned?

Realizing Your Vision (AO4)

• The Whole Picture: Think of your final pieces as a complete story. Make sure they fit together as a project, not just separate experiments.

• Does It Communicate?: Could someone grasp your main idea just by looking at your final work? If not, are there subtle connections and design choices you need to refine?

• Polish and Presentation: Craft your final output with excellence. Pay attention to the quality of your images, videos, design choices, and overall organization.

• Own Your Project: Are you proud of your own unique interpretation of this theme? Do you think it truly showcases your originality?

• Reflect on Intentions: You must critically analyse your progress throughout your work. Did you stick to your concept? What adaptations had to be made, and why?

Bonus Tips

• Embrace 'Messiness': Sometimes, getting lost leads to breakthroughs. Don't be afraid of detours in your creative process.

• Don't Just Tick Boxes: Show genuine passion and let your work shine with thoughtful choices, not just generic techniques.

• Annotate as You Go: Thoroughly comment on your thought process throughout the project to demonstrate your critical understanding.

Remember: Enjoy exploring your ideas, and don't be afraid to challenge yourself!

AO2 and AO3 Detailed Breakdown

It's understandable to find AO2 and AO3 a bit confusing as they overlap. Here's a breakdown to help you better understand their distinctions:

AO2: Experiment

• Focus: Exploring different media, materials, and technologies to see what might work for your project.

• Emphasis: Trying things out, testing possibilities, and learning from what works and what doesn't.

• Key Questions:

  • What different techniques could I use?

  • How can I combine different media?

  • What unexpected things could I try?

AO3: Develop

• Focus: Building upon the findings from experimentation and taking ideas further.

• Emphasis: Refining concepts, responding to feedback, and iterating your work based on critical understanding.

• Key Questions

  • How do my experiments inform my decisions?

  • What needs improvement and how can I achieve that?

  • How can I stay true to my intentions while incorporating lessons learned?

The Overlap

The line between the two will naturally blur. Here's why:

• Experimentation Informs Development: You can't really develop your ideas without experimenting first. So, AO2 naturally sets the foundation for AO3.

• Development Requires Further Experimentation: As you progress through AO3, you might need to experiment further to refine techniques or achieve certain effects.

• The marking will find evidence for both AOs within the same work.

Examples to Highlight the Difference

• Photography Student:

  • AO2: Trying out different lighting setups, camera settings, editing software, and printing techniques.

  • AO3: Analysing those experiments, deciding which lighting creates the desired mood, refining editing for that effect, and iterating based on test prints.

• Web Designer

  • AO2: Experimenting with colour palettes, layouts, font choices, interactive elements.

  • AO3: Getting peer feedback, recognising usability issues from experiment results, adjusting layouts and interactivity accordingly.

• Moving Image Examples:

Example 1: Lighting

• AO2: Experiment

  • Testing various setups: hard vs. soft light, 3-point lighting, coloured gels, etc.

  • Filming test shots using a static object, changing only the lighting each time.

  • Analysing the footage: How does each setup create different moods and impact the subject's appearance?

• AO3: Develop

  • Deciding on a lighting style based on the intended tone of the project (e.g., high-contrast for drama, soft diffusion for romance).

  • Applying that understanding to film key scenes, refining the setup based on feedback.

  • Explaining how the lighting is intentionally used to convey emotions and support your visual storytelling.

Example 2: Sound Design

• AO2: Experiment

  • Recording foley (everyday sound effects), testing ambient noise creation, layering music cues with different emotions.

  • Mixing elements, testing how they add to a visual scene with no original sound.

  • Reflecting on effectiveness: which combinations amplify tension, create realism, or establish a mood?

• AO3: Develop

  • Building a soundscape specifically for their narrative: choosing effects and music aligned with themes/genre.

  • Iterating sound edits alongside cuts of footage, adjusting timing and effects based on evolving feel of the film.

  • Justifying choices: why this specific piece of music builds toward a moment of revelation, or how footsteps impact pacing, etc.

Example 3: Camera Movement

• AO2: Experiment

  • Trying handheld, static shots, steadicam, dolly movements, slow pans, whip zooms... the crazier, the better!

  • Filming simple action (a person walking, an object falling), using different motions each time.

  • Evaluating footage: Which movements heighten emotion, create disorientation, or guide the viewer's eye?

• AO3: Develop

  • Intentionally selecting camera movements that elevate storytelling. (e.g., smooth tracking for character introspection, jittery handheld for a chase scene).

  • Adjusting movement alongside edits for pacing and to maintain visual focus.

  • Commenting on why these choices strengthen the overall communication of the narrative and theme.

Key Points

• Overlap is Natural: Good experimentation will lay the groundwork for development, so these AOs blur together a bit.

• Annotation is Key: Ensure students write explanations alongside their experiments; what they learn is the marker of strong work.

• Emphasis on Understanding: AO3 shows a greater awareness of how specific techniques shape meaning and how those choices align with the final artistic goal.

Key Takeaway:  Although these AOs are intertwined, there is a subtle shift in focus.  AO2 is about discovery through the act of doing; AO3 is about development guided by understanding gained through that experience.

Sample timeline:

Eight weeks should be sufficient to complete your Component, but the tasks and the direction needs to be bespoke to fit with the sheer range of project types. This is split into two sections: Key tasks and key deliverables. Note: Component 1 does not require a finished product, but a detailed design on what/would be created.

Timeline

This is NOT complete (in terms of tasks) or useful as a template, but it gives you an idea of how to manage your time.

Week 1: Finding My Inspiration

• Get into the Mood: I'll create a mood board filled with images, clips, music – anything that captures the feeling I want for my film.

• What's the Big Idea? Write a short paragraph explaining my film's core theme and the emotional punch I want it to pack.

Week 2: Learning from the Pros

• Film Geek Time: Analys some film scenes that fit my project's vibes. How do they use shots, lighting, editing, and sound to tell a story?

• Find a painting, building, or poem: Look at the world around you for inspiration. When looking at recycling, you don't just look at what you're throwing away, but the whole backstory, the effects, the uses and the education. Inspiration comes from so many places.

• Sketchy Storyboard: Loosely sketch out what my film might look like, focusing on the coolest shots that pop into my head.

Weeks 3-4: Let's Experiment!

• Lights, Camera, Test! Shoot short clips trying different camera angles, lighting, and setups based on my sketches. No need to make a story yet!

• Play with Editing: Cut my test clips, try colour filters, add some tunes... figure out what techniques create the mood I want.

• Playing Dressup: Mise en scene isn't just for feature films. I will look at clothing, costumes, makeup, sets, props, to help tell my story. What do I want my audience to see and why will it help.

• Jot It Down: Write about what worked, what didn't, and what my experiments made me think about my film.

Week 5: Plan & Get Some Feedback

• The Master Plan: Revise my storyboard, making it way more detailed with shot lists for each scene. Everything I learned experimenting should help with this!

• Film Some More: Specifically focused on getting the perfect footage for my new and improved plan.

• Honest Critiques: Get feedback from teachers, classmates, friends and family about what's clear, what's confusing, and where my film shines.

Week 6: Editing Galore

• Rough Cut Time! The first pass at getting my whole story into editing software. It won't be perfect, and that's fine! I'll be looking for what needs changing with a critical eye.

• Reshooting? Maybe: After seeing the rough cut, maybe I'll realize I need better footage of specific bits.

• Sound Brainstorm: Start figuring out the music, effects, and maybe even dialogue I want to include.

Week 7: Making It Look Slick

• Polishing My Movie: Tighten those edits, finalize the colour grading, and make my soundtrack fit just right.

• My Creative Journey: Compile this portfolio to show how my work evolved:

  • Early sketches and research to show where I started.

  • Feedback notes and how I used them to make changes.

  • Comments on a few favourite shots highlight why I made those choices.

Week 8:  Showcase Time!

• • The Final Screening: Time to submit my finished film!

Deliverables

Week 1: Finding My Spark & Inspiration

• • Mood Board: I'll be curating a collection of images, videos, anything really, that reflects the feeling I want my video to have.

  • Theme Statement: A short write-up explaining the core idea and what kind of emotions I want my audience to experience.

Week 2: Film Study & Storytime

• • Scene Breakdowns: I'll choose two or three film scenes that fit my theme, and analyse them carefully. How does the camera work, lighting, editing, and sound come together?

  • Storyboard Sketches: I'll be doing loose drawings to plan out my storyline, focusing on those shots that I think will look cool!

Week 3-4: Experiment Time!

• • Test Footage: Short bits of video where I test cameras, lights, and different camera angles, all based on my sketches.

  • Editing Practice: I'll cut these clips together, try colour correction, music – experiment to see what looks and sounds right.

  • Sketches: some photos of different costume ideas, experimenting with sets, locations, makeup. I will note any constraints and how I intend to deal with these.

  • Little Notes: After each test, I'll write down what worked, what flopped, and what it meant for my film overall.

Week 5: Planning & Getting Critiqued

• • Revised Storyboard and/or shot list: Think of it like a detailed "to-do" list for each scene, but based on what I learned in my early tests.

  • More Shooting: Specifically focused on my shot plan, getting better footage.

  • Feedback Check: Notes on what teachers and classmates say after seeing my progress – what is confusing, what works well, and everything in between.

Week 6: Editing Marathon

• • Rough Cut: The first time my whole story is assembled in the editing software. It might be janky, but that's fine! The point is to spot major problems or things that need changing.

  • Targeted Reshoots: This means I'll know exactly what extra bits of footage I need after seeing the rough cut.

  • Early Sound Design: Starting to plan which music, sound effects, and maybe even dialogue I want to add.

  • Feedback: I will analyse feedback from my cut before getting the final version completed

Week 7:  Adding That Polish

• • Polished Version: Time to smooth out the edits, finalize the colour correction, and work in the sound design properly!

  • Process Portfolio:

  • Those old sketches and mood boards.

  • My reflection notes on feedback and everything I changed because of it.

• • Comments on specific shots and why I chose them.

Week 8: Time To Shine!

• My Finished Film! It's all done and ready to be turned in.

• Final Reflection: Think of it as a film studies essay on my own work. Why did things go right? What did I learn along the way?

Things to Remember:

• Get Messy: It's OK if things change - experimenting often leads to better ideas!

• Notes, Notes, Notes: Everything I think while working will help show those examiners all the effort I put in.

• Think Like an Examiner: Did I really make those camera choices seem clever, or does that reflection need more detail? (Those AOs are super important!)