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Branded Media Panel Presentation

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Delivered at the 2017 UFVA Conference.

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Branded Media Panel Presentation

  1. 1. Courtney Hermann Assistant Professor of Film Portland State University clh6@pdx.edu courtneyhermann.com Leveraging Intensive Production Experiences in Branded Content Creation to Achieve Valuable Learning Outcomes for Students
  2. 2. Overview This presentation offers a case study in and organizational model for maximizing learning outcomes for film and video students within the context of intensive group production experiences that generate quality branded content for an organization or business.
  3. 3. Background – Branded Video Content In the coming years, internet users will increasingly consume information through video. For-profit and non-profit marketers are already exploiting this trend to reach audiences with their brand messaging.
  4. 4. Background – Branded Video Content In the coming years, internet users will increasingly consume information through video. For-profit and non-profit marketers are already exploiting this trend to reach audiences with their brand messaging.
  5. 5. Background – Branded Video Content In the coming years, internet users will increasingly consume information through video. For-profit and non-profit marketers are already exploiting this trend to reach audiences with their brand messaging. Unlike advertising campaigns of the past, branded online video prioritizes storytelling that seeks to achieve consumer engagement through content that entertains, informs, and inspires.
  6. 6. Background – Branded Video Content In the coming years, internet users will increasingly consume information through video. For-profit and non-profit marketers are already exploiting this trend to reach audiences with their brand messaging. Unlike advertising campaigns of the past, branded online video prioritizes storytelling that seeks to achieve consumer engagement through content that entertains, informs, and inspires. The ultimate goal is to create “sharable” media while cultivating an emotional connection between a brand and the consumer, rather than selling a specific product per se.
  7. 7. Background – Branded Video Content ”How Powerful Will Video Become” by Tom Hopkins · Published April 11, 2017 http://www.dreamgrow.com/video-marketing/
  8. 8. Background – Branded Video Content
  9. 9. Background – Branded Video Content
  10. 10. An “Intensive Group Production Experience” is a course or workshop structured around the collaborative creation of one or more films from concept to completion over a short time period. Background – Intensive Production Experiences
  11. 11. An intensive group production experience is a course or workshop structured around the collaborative creation of one or more films from concept to completion over a short time period. Background – Intensive Production Experiences
  12. 12. An intensive group production experience is a course or workshop structured around the collaborative creation of one or more films from concept to completion over a short time period. This type of experience mimics the deadline-heavy, pressure-filled, collaborative process of professional filmmaking environments, and is an incubator for dedication to the craft. Background – Intensive Production Experiences
  13. 13. An intensive group production experience is a course or workshop structured around the collaborative creation of one or more films from concept to completion over a short time period. This type of experience mimics the deadline-heavy, pressure-filled, collaborative process of professional filmmaking environments, and is an incubator for dedication to the craft. Background – Intensive Production Experiences Courses offering intensive group production experiences are results- driven in terms of educational outcomes and the quality of the end product, and in the case of branded content, the achievement of client satisfaction.
  14. 14. Case Study – Description In Portland State Film’s Fall 2016 Branded Media class, the course serving as the case study for this presentation, two projects were required of 3-5 production teams: a 1 minute “Tourism Spot” and a 90 second “Brand Story” video. Client 1: The Hollywood Theatre Client 2: Looptworks
  15. 15. Case Study – Completed Work Sample #1 Portland: You are Here (Street Fashion) https://vimeo.com/212097392
  16. 16. Case Study – Completed Work Sample #2 Looptworks (Upcycling) https://vimeo.com/195015104
  17. 17. Course Information Course Description In this class, students will work in small production units to produce professional quality, short form branded media videos for real clients. Students will meet with clients to determine their needs as they relate to the communication of the organization’s brand to a target audience. Students will prepare and deliver a formal pitch presentation to the clients—feedback from which will be integrated into the final concepts for the projects. Students will manage all aspects of production—from ideation to delivery. Topics include: brand strategy, producing and delivering video content for the web, client communications, pitching ideas, budgeting, and scheduling.
  18. 18. Course Information Evaluation Attendance 21 pts Reading Response Questions 15 pts Project #1 45 pts Case Study Presentation 12 pts Project #2 80 pts Peer and Self-Evaluation 50 pts
  19. 19. Student: _________________________________________ FILM 360 Branded Media: SKILLS AND INTERESTS SURVEY Please rate your skill and interest in each of the following crew positions on a scale of 1 – 5 (1 representing a GREAT interest level and 5 representing a LOW interest level): _____Producer _____Director _____Production Sound Recordist _____Boom Operator _____DP _____AC _____ DIT/Media Manager _____Gaffer/Grip _____Still Photographer _____Picture Editor _____Assistant Editor _____Post-Production Sound Recordist _____Music Composer or Editor _____Sound Designer _____Motion Graphics Designer _____Colorist List your production hardware proficiencies (e.g. Canon C100, Rode Shotgun mics, Lectrosonics Radio Lavs, Grip/Lighting gear, camera support gear, LTM Lighting Kits, Kino Flo Lighting, etc.). List your post-production software proficiencies (e.g. Premiere, Audition, After Effects, Speed Grade, etc.). Process Skills and Interests Survey Do you have a car that you are interested in using to carry gear and/or crew to a production location? ______YES ______NO Do you have a clear(ish) hard drive that you are willing to allow your group to borrow for offloading media, backing up media and/or editing? ______YES ______NO Do you have a laptop that runs the same version of Premiere Pro CC that we have installed in the Neuberger and Lincoln computer labs that you would be interested in allowing your team to use? ______YES ______NO If YES, is it Mac or PC? Is there another student in this class who you are absolutely dying to work with and if so, who and why? (I can’t promise anything, but I’ll see what I can do.) Check off the classes or workshops at the college level that you have successfully completed. If you earned an “A” in any of these, please put a star by them (nerd!). ______Documentary I ______Narrative I ______Documentary II ______Narrative II ______Documentary III ______Narrative III ______Directing ______Producing ______Experimental Film Production ______Cinematography ______Advanced Cinematography ______Music Video ______After Effects ______Premiere ______Scriptwriting (any) ______Visual Effects (any) ______3D Modeling and Animation ______Sound Techniques or Sound Design What other film and video production experience do you have? What “soft skills” or personal characteristics do you have that lend themselves to a collaborative production experience? Please provide the following information for the Crew Contact List: Best email address: ____________________________________________ Best phone number: ____________________________________________
  20. 20. Process Division of Labor Crew Duties Producer • Makes and modifies the schedule based on the needs of the production as determined, in part, by the storyboards/shot lists, location availability, etc. • Keeps production running on schedule • Communicates schedule, contact and location information to crew • Interacts with the location contacts to ensure clear communications • Manages food arrangements • Keeps track of expenditures and receipts • Tracks down supplies when needs arise • Makes transportation arrangements • Manages personal and location releases • Clears the rights to all music • Delivers the finished product on time Director • Works closely with the Producer to determine strategies for carrying out the logistics of the shoot • Works with the DP to finalize storyboards and shot lists • Shares finalized storyboards and shot list with Producer to arrive at a production schedule • Maintains and modifies the vision of the story • Articulates the vision to crew • Interacts with subjects/actors • Interacts with crew to promote high morale and troubleshoot problems • Keeps tabs on every aspect of the creation of the project and offers constant feedback, direction and support to crew • Oversees picture cuts, post-production sound, graphics creation, and sound design as well as finishing details • Writes and delivers thank you notes to appropriate recipients Still Photographer • Keeps track of and maintains good working order of the still camera • Finds and shoots images of crew on production that can translate into promotional materials • Offloads, sorts through, edits (keep the best, delete the rest), and re- names selected images Gaffer/Grip • Makes certain that all equipment in the gaffer/grip department is present and accounted for when checked out • Writes down each piece of gaffer/grip equipment and tests equipment for proper functioning before leaving for the location • Maintains and keeps track of all lighting equipment during the shoot • Cleans, repacks and checks for all items after each day of shooting • Is prepared to jump into any crew position as needed • Communicates with DP and Production Sound regarding moment-to- moment equipment needs • Clears and stores any unneeded equipment or equipment boxes in a secure place • Assists DP in setting up lighting instruments AC • Makes certain that all equipment in the camera department is present and accounted for when checked out • Writes down each piece of camera equipment and tests equipment for proper functioning before leaving for the location • Maintains and keeps track of all camera equipment during the shoot • Cleans, repacks and checks for all items after each day of shooting • Assists DP in setting up camera and support equipment • Provides assistant to Gaffer/Grip as needed • Slates with accurate scene and take numbers • Recharges batteries • Offloads media in coordination with media manager and wipes cards Media Manager • Coordinates with Editor and Assistant Editor to determine folder naming conventions for project media • Coordinates with AC to receive, offload and wipe cards • Coordinates with Production Sound Recordist to receive, offload and wipe cards • Backs up all shot media onto separate backup drive (media should be on 2 drives) • Coordinates with Assistant Editor to pass along media for editing Production Sound Recordist and Boom Operator • Makes certain that all necessary sound equipment is present and accounted for when checked out • Writes down each piece of sound equipment and tests equipment for proper functioning before leaving for the location • Checks all sound equipment for proper functioning before each shooting day • Decides on quantity/type and of batteries needed and arranges with the Producer to purchase them prior to the shoot • Maintains and keeps track of sound equipment during the shoot • Cleans, repacks and checks for all items after each day of shooting • Wrangles cables to keep crew, subjects/actors and bystanders safe • Maintain good levels on all live mics • Offloads media in coordination with media manager and wipes cards • Keeps track of media cards; making sure no cards are erroneously erased, and making sure none go missing • Communicates with the DP to maintain a high-functioning, efficient unit • Checks batteries and anticipates battery changes • Troubleshoots and corrects audio problems • Records ambience, wild sound, presence at each scene location with a verbal slate preceeding each occurance DP • With AC and Gaffer/Grip, makes certain that all necessary camera and lighting equipment is present and accounted for when checked out • Makes sure the lens is clean and free of dust and water • Works with Director to finalize storyboards and a shot list • Composes all shots for the best production values, in service to the action as it plays out and to achieve the Director’s vision • Communicates with the Production Sound Recordist to maintain a high- functioning, efficient unit • Passes spent cards to AC/Media Manager for offload • Keeps track of media cards; making sure no cards are erroneously erased, and making sure none go missing • Communicates with Colorist to help establish the approach for color correction and enhancement Assistant Editor • Communicates with Media Manager to receive all media from production • Communicates with the Editor to determine and maintain process • Helps set up the project’s media management/file naming conventions as in collaboration with the Editor • Synchs non-synch production audio • Media manages the shot footage in Premiere Pro; naming and organizing footage in bins • Mocks up assemblies for the Editor as needed • Sits with Editor when possible to help solve problems and arrive at a working cut Picture Editor • Communicates with the Media Manager and Assistant Editor to determine and maintain process • Communicates with the Director to formulate the best possible approach to telling the story through the available footage • Uses Premiere Pro to construct the picture cut • Saves progressive versions of the sequence-in-progress (rather than having multiple project versions, have multiple sequences within the one and only project) • Periodically saves the updated project file to the external drive AND to another external storage area • Communicates with Motion Graphics Designer, Post-Production Sound Recordist, and Music Editor to receive assets • Outputs and delivers the picture lock to both the Sound Designer and to the Colorist • Receives final sound design and color, marries them and masters out all required file types Post-Production Sound Recordist • Communicates with Director to determine post-sound recording needs and to coordinate talent • Reserves and checks out gear and lab for sessions • Generates the highest possible production value • Sits with the Sound Designer and Music Editor as needed to provide help, feedback, and another pair of ears • Backs up recorded media (onto 2 drives) • Coordinates with Editor and/or Sound Designer to pass along assets Motion Graphics Designer • Communicates with Director to design graphics treatments for the piece as necessary • Receives any pre-made elements/logos • Communicates with Editor to supply completed graphics for the cut Music Editor • Communicates with the Director to arrive at potential track selections • Sits with the Post-Production Sound Recordist and Sound Designer as needed to provide help, feedback, and another pair of ears • Communicates with Producer to establish music rights clearances • Outputs and delivers the final mix to the Online Editor Sound Designer • Communicates with the Director to formulate the best possible approach to editing sound and mixing the audio • Communicates with Editor, Music Editor, and Post-Production Sound Recordist to coordinate the creation and passing along of assets • Sits with Post-Production Sound Recordist and Music Editor as needed to provide help, feedback, and another pair of ears • Periodically saves the updated project file to the external drive AND to another external storage area • Generates the highest possible production value • Outputs and delivers the final mix to the Editor for mastering Colorist • Communicates with the Director and DP to formulate the best possible approach to color correcting the piece • Color corrects, sets contrast and controls brightness • Periodically saves the updated project file to the external drive AND to another external storage area • Outputs and delivers the final color to the Editor for mastering
  21. 21. Process Idea Development Lucero Cortez Christina Dodge Tfadzwa Nemarundwe Summer Perkins Water Conservation Pitch Ideas Idea #1 - The Gift of Water Conservation Told in a narrative fashion, this is the story of one millennial gifting a bag to another millennial. We spend a short amount of time showing them going to the website and making the purchase, though the bulk of the video would be devoted to the explanation of how these bags conserve water over other bags and how Looptworks is devoted to upcycling and bettering the environment. Portland would be a prominent highlight featuring many of its picturesque waterways. We would like to represent the number of gallons of water saved by a motion graphic showing the screen filling up with plastic gallons of water accompanied with a "drip" like sound effect. Since most of the bags save hundreds and thousands of gallons, it wouldn't be an exact representation but would convey the message that this is substantial. The video would end with a message like, "We saved this much water", emphasizing the WE. Idea #2 - A day in the life of a Water Conservationist We would highlight and spend the day with a Portland student who is studying water conservation and sustainability. They would be seen with a Looptworks bag but it would be subtle, simply an accessory. We would follow the student through classes, an internship, and a recreational activity showing how water conservation is important for everyone to be striving for. The tone would be more educational though we would look for opportunities to provide levity to avoid a dry video. Idea #3 - These bags actually save water In this video we follow two millennials as they hike to a Portland waterfall, remove their backpack, open it, and fill it up with the water. When one hiker is astonished the other explains that this bag "actually" saves water. The remainder of the clip then proceeds to explain how Looptworks' practice of upcycling saves water. It would educate the audience throughout the process and share the vast number of gallons of precious water the bags save. This video could play very well with text, voice over, and a engaging soundtrack.
  22. 22. Process Pitching the Client
  23. 23. Process Pre-Production Art Department Report Prop Character Date Needed Provided by Scene Props Cardboard box with Looptworks stamp Portland Shooting Day Looptworks 1 Birthday Note Portland Shooting Day Christina 1 3 Gallon Water Jug with strap & Logo Portland Shooting Day Summer 1, 2, 3 Looptworks Bag Portland Shooting Day Looptworks 2,3,4,5 Writing Utensils & Tablets, File Folders Tavia & Office Workers Hillsboro Shooting Day Christina 4 Plastic Water bottles with no labels Tavia & Office Workers Hillsboro Shooting Day Christina 4, 7 Office Decore Hillsboro Shooting Day Christina 4 Flowers in a water vase Hillsboro Shooting Day Christina 4 Wall Pictures w/3M Hangers Hillsboro Shooting Day Christina 4 Sandwich & other lunch stuff Portland Shooting Day Christina 5 Desktop or Laptop computer Tavia Hillsboro Shooting Day Christina 7 Wrapped Gift Hillsboro Shooting Day Christina 8 Wardrobe Parcel Carrier Uniform Parcel Carrier Portland Shooting Day ?? 1 Looptworks Henley Tavia Portland Shooting Day Looptworks 1, 5 Work Attire Tavia Portland & Hillsboro Shooting Day Tavia 2, 3, 4 Another Looptworks Henley Tavia Hillsboro Shooting Day Looptworks 7 Casual Attire Tavia Hillsboro Shooting Day Tavia 8 Production Schedule for Group #3 November 2016 Sunday Monday Tuesday Wednesday Thursday Friday Saturday 30 October 31st 1 2 3 4 5 Gather props and touch base with all departments 1st Shoot Day - Portland Begin logging Portland Footage 6 7 8 9 10 11 12 2nd Shoot Day - Hillsboro Begin Logging Hillsboro footage Record VO in the Sound Lab 13 14 15 16 17 18 19 Rushes Due for Group 3 & Production Debrief and Project #1 Due 20 21 22 23 24 25 26 Assembly Edit Due Editing Rough Cut 1 Due Color and Sound correction begins 27 28 29 30 1 2 3 Rough Cut 2 Due for Group 3 Color and Sound Correction final touches 4 5 6 7 8 9 10 Final Cut Due Crew/Cast Contact Sheet Name Position Cell Number Email Needs Transportation Dietary Requirements Nick Bresnan Director 808-388-0629 bresnan@pdx.edu No None Christina Dodge Producer, Boom Operator, Picture Editor, 503-504-8046 christi3@pdx.edu No Gluten Free Summer Perkins Production Sound Recordist, Still Photographer, Post-Prod. Sound Recordist, Sound Editor/Designer 720-934-9514 summer7@pdx.edu Yes Dairy Free/Gluten Free Tafadzwa DP, Music Editor, Colorist 503-752-0755 tafazwa@pdx.edu Yes None Lucero Cortez AC, Gaffer/Grip, DIT Media Manager, Assistant Editor, Sound Editor/Designer, Motion Graphics Designer 971-277-8161 lcortez@pdx.edu Yes Vegetarian CAST Tavia Wade Brittany wade5@pdx.edu Alex Mail Carrier Narrator Tavia Wade Brian Pater Ian Hobson *Cast Status: Tavia is set for Brittany. We have two possible leads for Alex, Brian and Ian. I have worked with Brian before he is very professional and very good. He is going to get back to me soon if he is available to get out of class on our shoot days. Ian answered my Craigslist ad and has little on camera experience but did offer a couple of buddies who could be our mail carrier. *We need someone to be mail carrier *My 18 yr. Old son has done a few high school plays and has an interest in voice acting. He has narrated pieces for me before. I am going to record him reading our VO and see what you guys think. Though, I am open to anyone who knows the movie trailer guy or Michael Buffer. :) Location Report Location Scene Shooting Day Address Contact Name Contact Number Status House 1 1 November 7th 313 NE Idyl Way Hillsboro, OR Summer Perkins Securred Park Blocks 2 October 31 None Guerilla Style/Bring ID Office Building/EXT 3 October 31 Naito Building None Guerilla Style/ Bring ID Office Building/INT 4 November 7 10:00 - 11:30 AM 2850 NE Brookwood Pkwy, Hillsboro Stephanie Chase, Dir. (503) 615-6500 Securred Fountain 5 October 31 Keller, Lovejoy or Salmon Fountain None Guerilla Style/Bring ID House 1/INT 7 November 7 313 NE Idyl Way Hillsboro, OR Summer Perkins Securred Apartment/EXT 8 November 7 Nexus Apartments 1299 NE Orenco Station Pkwy. Hillsboro, OR Corrine (503) 693-7490 Secure *Location status: Summer’s house is a go. And I called and scheduled us to shoot at Nexus Apartments for the exterior of the apartment. She has a ground floor near the sidewalk but if it gets rented before the 7th she said that they have a model we can use. She appreciated the offer to thank them on our Facebook page, so Summer’s still photos will come in handy. *Nick scouted for a reflective building and found that the Naito might be a good place to go. *I have contacted the Brookwood library and they are fine with us using the Conference room we suggested and even offered up a larger boardroom (but it has a ton on windows). It is a pay space, but knowing our low budget the employee said that they would maybe waive that fee. The conference room has a large monitor hanging on the wall that is not pictured below and I know the space is bland but I have some nice “aquatic” water set dressings in mind. *I called the parks department and unless it is below 40 degrees F. the fountains should be running. Weather forecast for the 31st: Cloudy, 50% showers and 56 degrees F. Nexus Apartment - Apartment EXT Nexus Apartment’s Business Center - Home INT Summer’s House - Home EXT Brookwood Library - Office INT. Benson Bubblers on the Park Blocks Lovejoy Fountain - ​1990 SW 4th Ave, Portland Equipment List: URSA Kit 1: Black Magic URSA Sudio 4k - Tilta Matte Box, Follow Focus, 3x pairs of rods, 2x Polarizers, 2x UV filters, CFast 2.0 card reader, Sigma 18mm-35mm lens, 70mm-200mm Canon lens, Arco Camera Bag, Rain Cover, URSA Shoulder mount, 256 Gig CFast card, Digital Viewfinder, Release plate adapter, 2 batteries, rod adapter mount, Power supply, Battery Charger, Power adapter. Manfrotto 526 A Tripod H6 Sound Kit 1: Zoom H6 sound recorder, Dead cat windscreen, Senal SMH 1000 monitors, 20 ft. XLR cable, 2 ft. XLR cable, ME-866 Sennheiser shotgun mic, Auray Pistol grip, Auray bag, K-tek 10 ft. boom pole. Wireless Lavalier Kit 10 ft. XLR Cable ARRI Light Kit 1: (2) 300W Fresnels, (1) 650W Fresnel, (1) ARRILITE 750 Plus Focusing Flood, Barndoors, Filter Frames, Scrims, (4) Stands, 120 VAC Bulbs, 3-Outlet Extension Cord, Heat-resistant gloves, Clothes Pins, Bulb Storage Case, 24 x 32” Softbox, Heavy Duty Case. Flag Kit 1 Power Bag Grip Equipment Bag Cart Black C Stands Sand Bags Grip Equipment Tote 4 C-Stands 8 Sand Bags 38. MEDIUM - Dumpster in foreground, P1 throws trash bag into dumpster. 39. MEDIUM WIDE - Dumpster in foreground, dump truck drives up and reaches down, picks up dumpster, dumps it, puts down dumpster, drives off. HIKING TRAIL 23. MEDIUM WIDE - Beautiful mountainside scenery, P2 hikes up trail past frame, ahead of us; slight track left. 24. WIDE - Beautiful scenery from top of mountain; pan across scenery. 25. MEDIUM CLOSE - P2 unzips bag, reaches in, retrieves apple; high angle POV, track forward. 26. Fists shoot up into air, directly in frame; mount hood in background(?); track forward. COLLEGE CAMPUS EXT. 17. WIDE - P1 walks into frame, then out of frame (going to class); possible tracking shot? ​[I know we want generic backpack shots to be static, but this may be an exception] CLASSROOM 18. CLOSE UP - P2 unzips backpack (on ground), takes out notebook; high angle POV. 19. MEDIUM CLOSE - P2 unzips backpack (on ground), takes out notebook; profile. 20. MEDIUM WIDE - P2 sits at desk, clicks pen, looks towards front of room; slight track left; looptworks bag in frame. WATERFRONT 28. MEDIUM CLOSE - P2’s head with bike helmet, sunglasses; track left. 29. MEDIUM CLOSE - Bike chain / pedals, front wheel spinning; track left. 30. MEDIUM CLOSE - Looptworks backpack on back; track right. Shot List
  24. 24. Process Production
  25. 25. Process Deliverables: • Rushes • Assembly • Rough Cut #1 • Rough Cut #2 • Fine Cut + Color, Graphics, Sound • Master + Consolidated Project Information Post-Production
  26. 26. Process Peer and Self-Evaluation Name: _____________________________________________________ BRANDED MEDIA PEER AND SELF-EVALUATION Please note that peer evaluations will not be shared directly with the person being evaluated except in the form of a numerical average of their combined scores from the rubrics section. Feedback provided in the written section will not be directly communicated to the person being evaluated, but will play into that person’s overall peer evaluation score. I. PEER EVALUATION—RUBRICS SECTION Please enter the name of each crew person in your group and select a point value for each evaluation category with 5 being “Excellent” and 1 being “Poor”. Crew Member #1: _______________________________________________ Category Excellent->->->->->->->->Poor 1. Development/Pre-Production Performance 2. Production Performance 3. Post-Production Performance 4. Attitude 5. Reliability, Dedication and Consistency 6. Execution of assigned duties 7. Ability to handle stressors and obstacles 8. Professionalism 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 Total Points: _______ Crew Member #2: _______________________________________________ Category Excellent->->->->->->->->Poor 1. Development/Pre-Production Performance 2. Production Performance 3. Post-Production Performance 4. Attitude 5. Reliability, Dedication and Consistency 6. Execution of assigned duties 7. Ability to handle stressors and obstacles 8. Professionalism 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 Total Points: _______ II. PEER EVALUATION—WRITTEN SECTION Please enter the name of each person in your group and briefly provide written feedback about that crew member’s performance. Crew Member #1: _______________________________________________ Crew Member #2: _______________________________________________ Crew Member #3: _______________________________________________ Crew Member #4: _______________________________________________ III. SELF-EVALUATION—RUBRICS SECTION Please select a point value for each evaluation category with 5 being “Excellent” and 1 being “Poor”. Attempt to be as objective as you can without overstating or understating your own performance. Category Excellent->->->->->->->->Poor 1. Development/Pre-Production Performance 2. Production Performance 3. Post-Production Performance 4. Attitude 5. Reliability, Dedication and Consistency 6. Execution of assigned duties 7. Ability to handle stressors and obstacles 8. Professionalism 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 5 4 3 2 1 Total Points: _______ IV. SELF-EVALUATION—WRITTEN SECTION Please provide detailed responses to the prompts. A. Complete the following statements about your contributions to and performance during the process of making your group’s project: My most significant contribution to the project was… Other areas where I made a positive contribution or performed well were… An area where I feel I could have performed better was… If I could do something differently, I would have… When I think about what my group members would say about me based on our experience working together on this project, I’m guessing they would say… B. Characterize your level of dedication to and investment in this project, your group and its efforts. Provide examples to support your assessment. C. In terms of your assigned crew position(s), where did you excel and where did you fall short? D. How would you characterize your interpersonal communications skills during the making of the project? (Consider how you handled communications with your teammates during the most stressful moments of the process.) E. Anything else you would like to add? F. What overall grade would you give yourself? Don’t be falsely modest, but don’t overstate your performance, either. Circle one: A+ A A- B+ B B- C+ C C- D+ D D- F V. WRAP-UP Please complete the following statement. This project made me realize… and… What I learned from this project was… and…
  27. 27. Value + Outcomes
  28. 28. Value + Outcomes Q&A after a screening of the inaugural airport microcinema program.
  29. 29. Value + Outcomes Q&A after a screening of the inaugural airport microcinema program. Presentation of final work to the Looptworks CEO and Marketing Manager.
  30. 30. Value + Outcomes Branded content creation provides the opportunity for students to employ nuanced storytelling techniques and apply high production values in service to a quality end product that speaks to a specific audience. In the process, quality portfolio materials and meaningful resume entries are generated, collaboration skills are practiced, the destination for the work is clear, and students gain an opportunity to serve in a crew position in which they have a particular interest.
  31. 31. Value + Outcomes Branded content creation provides the opportunity for students to employ nuanced storytelling techniques and apply high production values in service to a quality end product that speaks to a specific audience. In the process, quality portfolio materials and meaningful resume entries are generated, collaboration skills are practiced, the destination for the work is clear, and students gain an opportunity to serve in a crew position in which they have a particular interest.
  32. 32. Value + Outcomes “In most film classes, you’re given equal opportunity to succeed or fail in terms of your professionalism and the quality of your work. You can put a lot of work into a class assignment, or blow it off and settle for barely a passing grade. What I liked about Branded Media was the professional standard to which Courtney and Looptworks held us — it challenged me to push myself and produce as high a quality work as I possibly could.” --Julie L.
  33. 33. Value + Outcomes “The Branded Media course imparted a thorough understanding of the changing format of advertising and the role that storytelling plays in distinguishing branded media from advertising. The course also provided practical experience with the entire hands-on process from idea creation, idea pitch, pre-production, production, and post-production through to delivery to the client.” --Christina D.
  34. 34. Value + Outcomes “Branded Media teaches skills invaluable to anyone seeking employment in media production. You work with a real client; they communicate their needs, shoot down your bad ideas, and guide you to making something that represents their brand in a meaningful way. The client needs video content that speaks to a real audience and fits in the real context of social media. It never feels like you're making ‘just another class project’. You and your classmates become a professional team. Everybody has a job to do, and when problems arise, you deal with them. You get a leg up as a student when you take this course.” --Geoff V.
  35. 35. Recommendations + Final Thoughts • Recruit students with a variety of personality traits, experience levels, and skill sets. • Control the course cap (the case study class included 15 students). • Make expectations clear (i.e. each person is responsible for the quality of the end product and for contributing their best efforts to production processes involved). • Keep focus on the destination for the work to keep stakes high. • Manage client communications (including choosing the clients) to create efficiencies and to control client perceptions of the program.
  36. 36. Recommendations + Final Thoughts • Recruit students with a variety of personality traits, experience levels, and skill sets. • Control the course cap (the case study class included 15 students). • Make expectations clear (i.e. each person is responsible for the quality of the end product and for contributing their best efforts to production processes involved). • Keep focus on the destination for the work to keep stakes high. • Manage client communications (including choosing the clients) to create efficiencies and to control client perceptions of the program.
  37. 37. Recommendations + Final Thoughts • Recruit students with a variety of personality traits, experience levels, and skill sets. • Control the course cap (the case study class included 15 students). • Make expectations clear (i.e. each person is responsible for the quality of the end product and for contributing their best efforts to production processes involved). • Keep focus on the destination for the work to keep stakes high. • Manage client communications (including choosing the clients) to create efficiencies and to control client perceptions of the program.
  38. 38. Recommendations + Final Thoughts • Recruit students with a variety of personality traits, experience levels, and skill sets. • Control the course cap (the case study class included 15 students). • Make expectations clear (i.e. each person is responsible for the quality of the end product and for contributing their best efforts to production processes involved). • Keep focus on the destination for the work to keep stakes high. • Manage client communications (including choosing the clients) to create efficiencies and to control client perceptions of the program.
  39. 39. Recommendations + Final Thoughts • Recruit students with a variety of personality traits, experience levels, and skill sets. • Control the course cap (the case study class included 15 students). • Make expectations clear (i.e. each person is responsible for the quality of the end product and for contributing their best efforts to production processes involved). • Keep focus on the destination for the work to keep stakes high. • Manage client communications (including choosing the clients) to create efficiencies and to control client perceptions of the program.
  40. 40. Recommendations + Final Thoughts • Recruit students with a variety of personality traits, experience levels, and skill sets. • Control the course cap (the case study class included 15 students). • Make expectations clear (i.e. each person is responsible for the quality of the end product and for contributing their best efforts to production processes involved). • Keep focus on the destination for the work to keep stakes high. • Manage client communications (including choosing the clients) to create efficiencies and to control client perceptions of the program.
  41. 41. Resources Related to this Presentation Visit: http://courtneyhermann.com/ to access resources related to this presentation.

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