Outcomes assessment is a recent development in education that looks in detail at what students can do, rather than what they know. Outcomes assessment lets teachers state a full range of criteria for a given piece of work, and teacher and student subsequently have a broad ground for discussion. For each project, a list of desired positive outcomes shows the student what aspects of his or her work are important and to what group each belongs. The criteria should be a balance of the conceptual, creative, and technical, or students will concentrate on smooth technique rather than trying to say something—which should always be the object of every piece of work.
Given that a term's work will have several projects, students see their cumulative development from the first project onward, and because scores take the form of a bar graph, they can recognize and correct their persistent weaknesses, and of course rejoice in their accomplishments. Many teachers will want their students to score their own and other students' work as practice in evaluating screen work.
After each project is a list of desirable facets for you or your group to assess according to agreement. Numbers aren't in themselves useful but having to make decisions about relative quality is. The five-point scale of agreement is:
Not true or not applicable | 0 | |
Only minimally true | 1 | |
Somewhat so | 2 | |
Average and acceptably so | 3 | |
Considerably so | 4 | |
Unusually and strikingly so | 5 |
Editing | Action match cuts are smooth and naturallooking | 0 1 2 3 4 5 |
Uses match cuts on major moments of action to bridge shots wherever possible | 0 1 2 3 4 5 | |
Match cuts between two sizes of same action use an image size change large enough to make a natural-looking cut (If size change is too small it looks like a messy jump cut.) | 0 1 2 3 4 5 | |
Rhythm of footsteps is perfectly matched | 0 1 2 3 4 5 | |
Cutting from angle to angle feels natural and motivated | 0 1 2 3 4 5 | |
Overall editing rhythm feels natural | 0 1 2 3 4 5 | |
Camera operating | Camera movements are so smooth they seem entirely motivated by the subject's movements | 0 1 2 3 4 5 |
Pans and tilts sync with motivating action, neither ahead nor behind | 0 1 2 3 4 5 | |
Composition | Camera height is varied to create interesting angles | 0 1 2 3 4 5 |
Framing and composition on static shots is excellent | 0 1 2 3 4 5 | |
Compositions create maximum perspective and depth | 0 1 2 3 4 5 | |
Lead space ahead of subject is well judged | 0 1 2 3 4 5 | |
Compositional proportions around subject are maintained between images of different sizes | 0 1 2 3 4 5 | |
Blocking | Screen direction of subject remains logical Does not cross the line. | 0 1 2 3 4 5 |
Human presence and continuity | Actor looks so unself-conscious that footage could pass for documentary | 0 1 2 3 4 5 |
Nature and speed of actions is consistent from angle to angle | 0 1 2 3 4 5 | |
Mood changes and development make a character of compelling interest | 0 1 2 3 4 5 | |
Where actors come from and where they are going is suggested interestingly by acting, props, costuming, etc. | 0 1 2 3 4 5 | |
Dramaturgy | Sequence has a natural and satisfying arc of development and conclusion | 0 1 2 3 4 5 |
TOTAL |
Music use | The music made a valid, not facile contribution | 0 1 2 3 4 5 |
Music was chosen that didn't drown particular sound effects (SFX). Places were left in sound mix for natural effects to bleed through | 0 1 2 3 4 5 | |
Particular cuts or sections of movement were effectively repositioned to fit the rhythmic dictates of the music | 0 1 2 3 4 5 | |
Music started at a natural point in the sequence | 0 1 2 3 4 5 | |
Music ended naturally | 0 1 2 3 4 5 | |
Using music added new layers of meaning and impact | 0 1 2 3 4 5 | |
TOTAL |
Structure | There are clear developmental phases in the sequence like acts in a play | 0 1 2 3 4 5 |
The sequence has an overall rhythmic development that is satisfying and right | 0 1 2 3 4 5 | |
There is a clear peak and turning point | 0 1 2 3 4 5 | |
The sequence is neither too short nor too long | 0 1 2 3 4 5 | |
Form | The sequence flows and does not seem fragmented (if it did, this would point to a lack of sub-sequences, each with its own beginning, middle, and end) | 0 1 2 3 4 5 |
Content | A strong mood is established | 0 1 2 3 4 5 |
The piece deals with what you expect of that setting | 0 1 2 3 4 5 | |
The piece shows some of the unexpected | 0 1 2 3 4 5 | |
Point of view | There is a strongly defined observing consciousness at work (anger, fear, lethargy, hedonism, etc.) | 0 1 2 3 4 5 |
The point of view develops and changes | 0 1 2 3 4 5 | |
Use of sound | Natural sound plays a narrative part in the sequence | 0 1 2 3 4 5 |
Natural sound supplies an emotionally laden atmosphere | 0 1 2 3 4 5 | |
Impact | The sequence has a strongly sensual impact and mood | 0 1 2 3 4 5 |
TOTAL |
Parallel stories | Each portion of each story consistently contributes to its counterpart | 0 1 2 3 4 5 |
The rhythms of cross-cutting seem balanced | 0 1 2 3 4 5 | |
There are a number of interesting counterpoint moments | 0 1 2 3 4 5 | |
Movement is sometimes used as a cutting point between stories | 0 1 2 3 4 5 | |
Dialogue is sometimes used as a cutting point between stories | 0 1 2 3 4 5 | |
The frames of each story design well with each other | 0 1 2 3 4 5 | |
The whole is greater than the sum of its parts | 0 1 2 3 4 5 | |
TOTAL |
3.147.44.182