EVALUATION

Abstract:
This is a critical analysis of The Sims 4 Trailer I created, and how it could be improved upon.

Georgia Scannell
cmpgeorgiascannell.weebly.com

Target Audience, and synopsis of the advert:

Designed to appeal to those between thirteen and eighteen, my advert made a comparison between our
reality and the world of the Sims; it conveyed it as being an immersive experience, accessible to anyone.
The animated style is eye-catching due to the unusual nature-it is not every day that we see
advertisements in this form, or with this much detail. The clothing and appearances of the Sims are not
designed to be aspirational, or to evoke jealousy-they are modelled on real people, and their body
shapes/skin tones/hairstyles/outfits etc. Considering the target audience, I feel that this is an imperative
aspect-regardless of the medium, youths are exposed to idealistic variations of themselves and their
peers. Consequently, by not only having impossibly attractive Sims, it tells the viewer that the product
is not limited to those who look a certain way, but anyone who wishes to play.
In addition, this promotes the notion that the core of gaming need not be violence and war, but
intuitivism and creativity. Although the majority of the population is familiar with the franchise, there
will be an inevitable number who are uncertain as to the content. The trailer aims to dispel any
misconceptions which may have been formed by not using controversial material or anything that could
be deemed inappropriate, hence securing its suitability for not only the T.A., but the entirety of the
population.
Furthermore, the product acts as a bridge between the games of our youths, i.e. Pokmon, Animal
Crossing etc., and those for adults, i.e. Grand Theft Auto, Saints Row etc. The creativity and unique
characters of the former are in vast open worlds with the near unlimited capabilities of the latter.
As such, it begins with a girl sat at a desk, appearing to be tired with the monotony and repetition of her
life. The voice over asks the question, Is this you? Proceeding this, a boy is seen to retrieve a copy
of the game from a shelf. He goes on to place this in his computer, with the narrator continuing by
saying, Or is THIS you? (The latter section was not included in the initial cut, but was introduced
after feedback.).
At this point, the camera pans around to face the screen of the laptop. It zooms in, before fading to
white. As the imagery returns, the gameplay commences. This begins with a mother and son sat on a
sofa watching a large television set. The following hashtag appears: #movienight.
Following this, a girl is seen to be baking in the kitchen. This seems to be tidy and rehearsed, until the
mixture splashes across her and the surface in. This reiterates how the actions within the game are
exaggerated and the antithesis of our actuality. The accompanying note reads #kitchennightmares.
Cutting to a location reminiscent of a beach, a female Sim proposes to her partner; in the typical,
peculiar fashion, another character and Death are watching. We do not discover whether or not this is
accepted. In keeping with the previous scenes, the hashtag #truelove? is present from the point of her
asking for his hand in marriage.
Deviating from the romantic theme, the boy seen at an earlier point is once again the focal point. A
birthday cake has been placed on the countertop, and a celebration takes place. After a moment of
standing, with his parent cheering in the background, he blows out the candles. In a considerably
elaborate motion, he ages up, becoming a teenager. Indicative of the emotions present at this life stage
and the desire to gain independence, #helloworld is present for the second half of the commercial.
Reconnecting with the couple, we see the gentleman accept the ring, prompting a passionate exchange.
Demonstrating the progression of the relationship, a new phrase is associated with them;
#togetherforever.

2
As the main story threads conclude, we are gradually introduced to the ultimate message of the trailer.
To act as a transitional point between the conceptual tales and the article information, such as the price,
the screen contains numerous characters expressing their personal mannerisms. We hear the motto for
the series, Play with life, as the footage fades to white.
Briefly, we simply see The Sims 4, before cutting to a shot of the Premium Edition, with the voice over
informing us that it is Only 49.99 from GAME.

Storyboarding:

The process of storyboarding is one of the most imperative aids in the visualisation of a complete
recording. Having comprehended its essential nature, I began to consider the most effective way of
compiling mine, when the majority of the filming was to be completed by a program installed on my
laptop.
Ultimately, I decided against photographing the computer screen; both the quality of the image, and the
clarity would be compromised, hence hindering my ability to refer to it at a later point. Instead, I made
the necessary Sims partake in the desired activities and used the print screen functional to capture the
action. In some cases, I copied the still across to Premier Pro to overlay the text. This enabled me to
explore the positions it could be placed in, and the colourings available.

The footage featured in the

advertisement.

This, I discovered, was

invaluable. By noting the font
size and colour, and being
able to view its location, time
was saved during the final
editing; I knew what had
worked the best, and was only
required to input
the
information (see opposite).

In the example featured, a

significant
amount
of
experimentation was required. The fair colourings of the
The Storyboard image and caption.
furniture made it difficult to find a shade that was clearly visible.
This run-through, so to speak, served to make the editing more
efficient as I was confident as to what to do, and how to do it.
Likewise, having my advert laid out in front of me, I was able to envision the completed, seamless
article. This indicated where alterations were to be made, and provided inspiration as to how to proceed
in terms of making these changes; for example, during the first draft, the scene in which the proposal
occurs was one continuous take. After reading through several times, I could see it being too long, and
detrimental to the fluidity of the commercial. As such, I separated it into two-the question, and the
acceptance were divided into two separate entities, with another in between. This not only assisted in
the improving the flow, but in creating a feeling of suspense-we wonder what the answer will be.
In addition, I was able to re-arrange frames, without the bother of having to do so whilst assembling my
submission. This meant that I did not need to concern myself with inadvertently lengthening/shortening
segments, ruining what I had created or deleting elements. Similarly, it permitted me to explore the
various orders I could use within the trailer. This was an integral method in choosing the composition

3
of the piece; the original cut was incredibly different. As this was done, I reworked the script so that it
corresponded with the storyboard.
The captions underneath each box helped to solidify my understanding, by detailing the shot
lengths/types, whilst explaining how the scene would transpire in a more technical manner than the
other planning aids. Equally, it acted as a link with the script; I was able to see what should be said at
each point, and decide whether or not the speech should be altered. This was the perfect circumstance
of various aspects working in unity.

Mind-Maps:

Pivotal in forming the ideas which were adapted into my advert, mind-maps were an essential
component in differentiating my thought processes.
Primarily, they enabled me to expand upon the base concept; I took the general notion, before
considering any additional strands that could enhance the commercial. Although these were to be
relevant to the initial plan, these could be inclusive of other influences, and suggestions in terms of the
visual style. Due to this, the T.A. could be solidly established, and a definitive direction could be chosen.
By using mind-maps,
we are able to break
down even the most
complex of thoughts-the
structure means that
long,
and
detailed
paragraphs
are
inappropriate.
To
compensate for this, the
core theory has legs
extending from it with
the said information
surrounding
it
in
individual
sentences.
Inadvertently, it is
divided into manageable
sections.
I found it extremely useful how this method provoked further inspiration. As I wrote down one thing,
another would come to me. Even though these were not always directly linked to what I had previously
thought of, they were still written down; at a later time, these can be adapted into something of
relevance.
To improve upon these, I will include more colours and highlight key points. Not only will this make
them more attractive and appealing to the eye, the items which need particular attention will stand out,
acting as a reminder of their importance.
The presentation of this work also needs to be developed. When referring back to these notes, they need
to be legible so that they can be of use. As such, I will use an online resource, like Bubbl.us, to do this.
From looking at the photographs, I believe that typing my ideas, and altering the appearance on a
computer, would be beneficial.

4
I feel it would be of great use to use these throughout, to document how the process is evolving and to
separate my thoughts for each section of the pre-production. This would sustain the level of
consideration and care, and ensure each element gets the attention it requires. Should I do this, the
standard of work will improve, and I will be able to complete the assignments efficiently and to a high
quality.

Discussion Notes and Comments:

The market research that I undertook proved to be priceless throughout the planning stages. By
recording a focus group with two friends, I was able to establish that Idea 1 was the better of the two
(https://www.youtube.com/watch?v=xUZxh3Ut76o). Comments included how it was more interesting
visually, and relatable for the audience, whereas the second would become boring before long.
I understood this completely, and affirmed my confidence in idea 1. Although I felt this way from the
offset, I did ponder whether or not idea 2 would be more appealing, and attract a gamer clientele.
Hearing the responses from my peers, however, made me re-think this completely-The Sims is suitable
for all abilities, and for those not devoted to video games. As such, by taking the latter approach the
fear was that we would alienate a large percentage of the fan base. Had I not had this feedback, it would
not have been likely for me to consider this. Similarly, the positive reception to idea 1 meant that I knew
I was directing my advert in the right direction.
Additionally, the survey I created aided me in examining people responses to the product, and see their
opinions on which of the two they preferred. The most popular age for the recipient was 13 years or
younger; this is as my brother and a multitude of his friends replied. I paid particular attention to theseand those up to the age of 18-as they are all in the Target Audience.
Seeing what channels they watched
most frequently was a valuable assetwe have been given an indication as to
where to place any future commercials;
Nickelodeon was frequently cited
alongside E4 and Sky.
Was I to repeat this, I would decrease
the potential for ambiguity in both the
questions and answers; I will word
them in a way which demands a good
level detail as a reply-ultimately, I want
to get as much information as possible. As such, I could ask how much they know about The Sims,
what they currently think of it, what their favourite features are and so on. This would inform me about
their preferences, and suggest what I could show in the trailer.
Whilst doing the same with the focus group, I could also get those involved to play some of the game,
and use their reactions to shape the advert; for example, if they really enjoyed using the Cupcake
Machine, I would incorporate that into the script.
The most imperative feedback I got given was in regards to how I had filmed the piece; it required a
wider variation in camera angles, meaning that I had to incorporate more acting. Unsure as to how I
should proceed, I looked back to my planning booklet. Here, I realised my original commercial was to
include more people, completing mundane tasks. Having the majority of the editing done, and
experiencing how it felt to watch, this, I feared, would no longer work.

Visual Style and Aesthetic Qualities:

With my advert, I chose to take a unique approach to how I presented it-in keeping with the item, I used
animated gameplay. This alone separated mine from other commercials.
Due to the quirky and bright style identifiable with The Sims, an immediate contrast is drawn between
this, and the section containing actors. By using black and white and de-saturated colour for the human
roles, a striking difference is seen in terms of the imagery alone-the Sims and their surroundings are
automatically brighter than their real counterparts. At the same time, the animation looks polished and
professional; it makes the entire production appear to be to a high standard.
This is representative of the one of the subliminal messages included in the advertisement; when we are
bored, and tired of the repetitive nature of our everyday lives, we can rely on this game to inject some
much needed excitement into our routines.
Likewise, by combining the graphics with ordinary acting, we are reminded that this can be an extension
of our existences, and not a consuming habit-we can use The Sims as a fun hobby to attain our most
obscure wishes, without it dominating us.
A focus on the quality meant that I was able to demonstrate the avante garde manner of The Sims 4;
there are few computer games which can boast this level
of animation. Whilst not everyone has access to the awe
inspiring visuals of an X-Box One, for example, with the
lowest system requirements of any product in the
franchise, almost anybody can enjoy the ground-breaking
simulation that is this game.
One of the few issues I encountered whilst completing
these sections was the maintenance of the high graphics.
The software I was using, although effective and capable
of doing the job well, was unable to constantly process the
encoding rate, and struggled to capture every scene. This
An example of the graphics.
meant that until I lowered the in-game appearance from
1080p to 380p, a still image was recorded, with only the sound progressing. Was I to do this again, I
will invest in a newer version which does the same, but with the ability to handle a better resolution.
In terms of the aesthetic, many fade-to-white transitions have been used. This is to show the plotline
moving in an idealistic direction; the Sims are partaking in ludicrously exaggerated activities and
achieving goals that we cannot even fathom, but would love to experience.
Throughout, there is repetition of the logo. As people, we learn and remember through seeing the same
item over and over, meaning that we will begin to associate similar icons with that of the Sims, and
recognise the emblem, even when there is no written confirmation.

Soundscape:

As soon as the Sims come onto the screen, the most recent Create-A-Sim (CAS,
https://www.youtube.com/watch?v=870mXAnxsnQ ) music begins to play. This is not only whimsical
and unique, like the product itself, but an instantly identifiable aspect of the franchise; most people have

6
had some form of involvement with this part of the game. By taking this element and presenting it at
the fore of the advertising campaign, the moment the customer enters the CAS facility, they feel that
they are instantaneously familiar with what is available; the song that they will have heard will make it
seem as though they are re-entering something that they are competent with, but with enhanced controls
and features, i.e. if they were an avid The Sims 2 player, they may recognise elements in this most
recent sequel and feel more comfortable navigating the product as they see it as being an upgrade.
Likewise, this allows us to engage in the concept far more; we are experiencing the gameplay, without
playing it ourselves, making the commercial even more immersive.
In addition, and quite simply, the music is friendly. It is not intimidating and does not manifest an
unnecessarily threatening/nervous/fearful atmosphere; it promotes the item as being appropriate for
youths and adults alike, with the progression of the storyline not being reliant on our ability to kill, steal
and torture. By not using contrapuntal sound, this was achieved; a dark and dramatic symphony by
Beethoven was not needed for characters who were baking cakes, watching television and so on. The
tempo slows as the advert draws to a close. This puts the viewer at ease and enables them to comprehend
what they have just seen, and make a logical decision as to whether to purchase it, just as the price is
mentioned.
When creating my advert, I did not rely heavily on sound effects. I used cheers and a gasp for the
proposal scene, as a way of bringing this into reality; by seeing the emotions these Sims are battling
with at this point, and by introducing the suspense, we find ourselves caring about what will happen
next-we truly are wishing this pair the bestWe want the answer to the question to be a yes.
By having the music set the tone for the advert, and not human sounds placed in an un-real universe,
the risk of coming across as being a cheap, tacky reproduction of a more successful product is avoided.
We do not hear disproportioned noises corresponding with the activity; instead, we are able to imagine
for ourselves what we should hear in the scene. Perhaps most crucially, we are not met with the risk of
totally irrelevant effects being used, for example, a loud explosion is not heard when the cake is ready
to signify it being cooked and the extreme and over the top functionality.

Appropriateness to Audience:

In a sense, those in the age range of 13-18 are a challenge to advertise to; they are nearly always on
their mobile phones, checking their latest Facebook messages, or simply talking to friends. As such, I
chose to utilise social media within the advert.
By using hashtags in regards to what is
occurring on screen, a link is once again made
between the product and us.
By gaining popularity on a site such as Twitter,
and by Trending word that the game has been
released will spread without the need for
constant television advertising. By asking the
audience their #simlife is, they will begin to
share instances and photos from their own
lives, before they re-create these in the game,
making them as disastrous, or successful, as
they like.
Essentially, The Sims is not a violent game and, as such, does not possess an age rating higher than a
12. Due to this, only aspects of the game which cannot be deemed controversial have been included in

7
the trailer; instead of showing the most ludicrous elements available, hyperbolic re-enactments of basic
activities have been used to show that whilst the game is out-there, and does not always conform to 21st
Century expectations, it is not intentionally offensive or inappropriate.
In the future, I will vary the actions more, so that some of the more obscure elements can be showcased.
This will help reiterate the unusual mannerisms the Sims can express and show how they can achieve
nearly anything.
Additionally, I could film the Sims playing with their phones, and suggest that they are using the social
media in the advert. This would further link the two worlds as they would be commenting on their lives,
as we do ours. This could also correspond with the #simlife ideology as the characters themselves would
be partaking.

Technical Qualities and Effectiveness of Techniques:

Whist only having a small part in the grand scheme of the advert, the recorded elements were imperative
in forming the plotline for the trailer. The tired girl, and the excited boy both contributed to portraying
the game as being engaging and immersive.
As such, I used a number of camera angles. Primarily, a close up is used to force the viewer to focus on
the boredom in her face-they are not able to ignore her plight, or her inability to find something to do.
Following on from this, another close up is used, this time of copy of the game being removed from a
shelf. This confirms to the audience what the item being advertised is, and shows them the new
packaging and brand identity, so that they can recognise it for themselves. We then have a low angle
shot which not only allows us to look at the cover of the product, but his response to it; we can see that
he feels that this is special, and something to be excited about. When he inserts the disk into the
computer, his face lights up-he appears to be filled with joy. As such, this conveys that what he is
looking at is special and precious, with the ability to bring unparalleled entertainment.
There are a handful of problems I encountered whilst recording the above; the light was poor in my
brothers room, as such the picture quality was grainy and not as refined as I hoped it would be. Next
time, I will bring more lamps to illuminate the area further.
Should this not be possible, I could arrange to do this
earlier in the day when natural light will supplement the
artificial.

The footage was not as clear as I had hoped it

would be.

In terms of filming the actual game footage, I feel that next

time, I should repeat the processes several times so that I
have a plethora of variations to choose from. This would
enable me to look at using different camera angles, and
levels of zoom. This, in turn, could create alter how close
we feel to the Sims and what they are doing, i.e. I would
use more of a close up for the proposal, to show that this
is a personal, intimate scenario.

The space available was minimal. Because of this, I struggled to find room for my tripod. After much
struggling, I reached a resolution of sorts-by moving many of his possessions, and with me standing
away from the camera, we managed to find an adequate opening to set up the apparatus. If I was required
to reshoot this, I would consider using another, larger area, i.e. the lounge.

8
On the other hand, the taping of the audio went far better than I had anticipated; again we used my
brothers bedroom, but on this occasion the size did not prove to be detrimental-it was quiet with little
external noise interfering with the work; we could not hear the neighbours in their garden, walking
down gravel driveways, or entering/exiting cars. I am going to make a note of this and consider using
it for other voice overs.
The editing sequence went smoothly. The timings of the recorded game footage where relatively
accurate, meaning that I only needed to cut them by a second or two, if at all. The same can be said for
the scenes containing actual actors. This meant that I merely had to piece each part together, and add in
the correct audio. This said, I did initially struggle with altering the volume of the soundtrack so that
the price etc. could be heard. I discovered the best method of doing this was to use the razor tool and
lower the volume by placing it in a different layer. Exponential fades made this appear to be seamless
and as though it had not been cut.

Effectiveness of the Advert:

As a whole, the advert depicted the Sims 4 in an engaging and relatable manner. The characters are
differentiable and we do not get confused as to who is doing what. Likewise, the Sims vary in terms of
how they look, dress and behave-no two avatars are doing the same. This in itself demonstrates how an
infinite number of tasks can be completed, even those that we are not controlling.
We are drawn in by the boys excitability as we want to see whether or not the game can be as incredible
as it is being made out to be. Likewise, those of us who are familiar with the franchise and new players,
are instantaneously impressed by the improvement in the graphics. The fluidity of the movements and
loading speeds make us want to own a copy-if the game is that smooth, then it is ideal for playing on
the commute to work, as an escapist outlet, or simply on a break.
Ultimately, we are exposed to the new, and classic, features in a way which is able to be replicated; we
are not modding the gameplay, or using developer tools to create impossible scenes-this is all
something that can be accomplished from the comfort of our own homes. Knowing this, and considering
that all that is featured is simple to reproduce, the audience is left pondering what else is awaiting them.
The message is clear-we can be like the girl-bored and unamused-or the boy, and use the game as an
extension of our existence, achieving any number of impossibilities; almost anything that cannot be
done in real life, can be done on The Sims 4.
Was I to repeat this assignment, I would include more teenage Sims so that they resemble the Target
Audience. They would be undertaking tasks like the stereotypical adolescent, with an inevitable twist.
These could include parties, practicing a hobby, socialising and so on. This, I feel, would positively
demonstrate that the game is not a direct copy of our lives, but an alternate reality where anything is
possible.

Comparison to Original Idea:

The final advert bears a good level of resemblance to my initial idea. I see this as being a positive thing
as it suggests that my plan was realistic and did not overstep the boundaries of what I was capable of.
Likewise, it meant that my planning schedule and other elements of pre-production were accurate.
By not deviating from my plan, I did not get carried away with experimenting with the available
features, hence not creating an advert that was too long or too complicated. As such, the simplistic,
light-hearted atmosphere that I wished to create was maintained and not adapted into an intense, heavy
experience which would contradict the concept.
The most significant difference between the two is in the opening sequence. Originally, more acting
was to be used, and have the Sims resembling those starring in the trailer. I decided against this as I felt
too many humans would detract from the product and the animation. Likewise, it would be too long for
an advert and the viewers would lose interest. Similarly, I felt the audience would consider the trailer
to be repeating itself if I used Sims who looked like the actors-the same cast, in a new situation.
I also toned down the content slightly-a less frenetic approach was used, and instead utilised the relaxed
nature of the Sims and its music. This was done so as not to overwhelm those watching-if every function
and interaction was included, not only would the length be ludicrous, there would be no way of
absorbing and comprehending what we had just seen.
To begin, I did not specify what music I would use; this came once I had thought through every detail,
and was chosen just days before I began filming. I did consider using a song by an artist who was not
affiliated with the Sims, but chose against this, instead using in-game content. This did not change at
any point.

Final Comments:

As a whole, I was pleased with my advert. I felt that the message was effectively conveyed and I
promoted the Sims in a good manner. The acting went as well as could be expected and the voice
overs/recording of the game went better than I could ever have anticipated. Due to the technical
difficulties with software, and the time it took to record the gameplay, I will think carefully before doing
an animated piece again! Having said this, I feel that combining the two forms (animation and acting)
helped to make the advert unique, and something which stood out from the others. As was mentioned
earlier in the document, I would also use a larger variety of interactions and activities, to help showcase
the versatility of the game.