This document provides information about leveraging intensive production experiences to create branded video content for clients. It discusses how video consumption is increasing online and how brands are using video to connect with audiences. The document then describes a case study of a course where students worked in teams to produce short videos for two clients, and provides examples of the completed videos. It also includes course details like assignments, evaluation criteria, and a student skills survey. The goal is to maximize learning outcomes for students through collaborative, deadline-driven group projects that result in quality branded content for organizations.

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. 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. 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. 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. 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. 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. Background – Branded Video Content
”How Powerful Will Video Become”
by Tom Hopkins · Published April 11, 2017
http://www.dreamgrow.com/video-marketing/

8. Background – Branded Video Content

9. Background – Branded Video Content

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. 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. 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. 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. 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. Case Study – Completed Work Sample #1
Portland: You are Here (Street Fashion) https://vimeo.com/212097392

16. Case Study – Completed Work Sample #2
Looptworks (Upcycling) https://vimeo.com/195015104

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. 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. 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. 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. 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. Process
Pitching the Client

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. Process
Production

25. Process
Deliverables:
• Rushes
• Assembly
• Rough Cut #1
• Rough Cut #2
• Fine Cut + Color, Graphics, Sound
• Master + Consolidated Project Information
Post-Production

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. Value + Outcomes

28. Value + Outcomes
Q&A after a screening of the inaugural airport microcinema
program.

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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. Resources Related to this Presentation
Visit:
http://courtneyhermann.com/
to access resources related to
this presentation.