APPENDIX 1

OUTCOMES ASSESSMENT FORMS

 

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.

SCORING METHOD

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

ASSESSMENT 6-1A, B (EDITING)

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

ASSESSMENT 6-1C (MUSIC)

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

ASSESSMENT 6-2A (BLOCKING, ACTING, AND CAMERAWORK)

Blocking and use of location The setting is used throughout to great advantage (Often settings get used as a generalized “container” instead of as an active component in the story) 0 1 2 3 4 5
The essential action is always visible 0 1 2 3 4 5
The action is in wide shot whenever necessary 0 1 2 3 4 5
The action is in close shot whenever necessary 0 1 2 3 4 5
Main character's movements are predominantly contrived to happen down the depth of the frame and create depth 0 1 2 3 4 5
No actions came out of nowhere—you always saw a transitionary movement or action when it was needed 0 1 2 3 4 5
Acting You learn something about the main character(s) from everything they do 0 1 2 3 4 5
They look naturally occupied throughout 0 1 2 3 4 5
You get a good sense of how they spent time previous to this scene 0 1 2 3 4 5
You can guess something about the day they anticipate 0 1 2 3 4 5
There is considerable variation of mood and rhythm in what they do 0 1 2 3 4 5
Main character is natural and there are no dips in credibility 0 1 2 3 4 5
You get the sense of a whole character with some issues bearing on him or her 0 1 2 3 4 5
Dramaturgy The piece is consistently interesting to watch 0 1 2 3 4 5
The piece has an overall sense of development 0 1 2 3 4 5
We see a whole, complex character emerge 0 1 2 3 4 5
There is evidence of personality conflicts and unfinished business 0 1 2 3 4 5
The pace of the development does not lag or get stuck 0 1 2 3 4 5
The piece feels resolved and finishes satisfyingly 0 1 2 3 4 5
The high spot in the piece occurs where it should, not late or early 0 1 2 3 4 5
The piece accomplishes its mission within the 4-minute time requirement 0 1 2 3 4 5
Camerawork The camerawork feels natural and unobtrusive 0 1 2 3 4 5
There are changes in camera height and all are motivated 0 1 2 3 4 5
The camera seeks to relate main characters to everything they are doing (for instance, shoot over the toaster at main character's face waiting for toast to pop up, rather than show toaster, then pan to main character waiting) 0 1 2 3 4 5
Composition is always in control (action isn't held safely wide so you feel you are watching a stage performance) 0 1 2 3 4 5
Main character's movements onscreen are always at the right distance, never so close that the audience feels seasick 0 1 2 3 4 5
The camera was never taken by surprise 0 1 2 3 4 5
The camera never illegitimately anticipated what was going to happen next 0 1 2 3 4 5
TOTAL

ASSESSMENT 6-2B, C (INTERIOR MONOLOGUE)

Interaction between voice over (VO) and picture VO doesn't over-inform and suffocate audience 0 1 2 3 4 5
VO doesn't under-inform and leave the audience guessing for too long 0 1 2 3 4 5
The order of showing and telling is always intelligent 0 1 2 3 4 5
No duplication between what we see and what we hear 0 1 2 3 4 5
There are ample breathing spaces in the VO during which audience can examine central character's actions and make their interpretations as perceptions arise 0 1 2 3 4 5
Thoughts seem to arise out of what character does, as he or she does it 0 1 2 3 4 5
Nicely ironic juxtapositions exist between words and actions 0 1 2 3 4 5
Acting Voice sounds completely spontaneous, not reading 0 1 2 3 4 5
Voice is naturally paced for the content 0 1 2 3 4 5
Voice mood and mood changes are all believable 0 1 2 3 4 5
Central character, both in voice and in action, emerges as interesting and credible 0 1 2 3 4 5
Recording Well recorded, intimate on-mike voice quality 0 1 2 3 4 5
Editing and Mix Ratio of VO to action is nicely judged, and action can breathe 0 1 2 3 4 5
In the movement back and forth between VO and diegetic tracks, the level changes are well judged and sound natural 0 1 2 3 4 5
Dramaturgy Audience is encouraged to observe and make its own judgments 0 1 2 3 4 5
Sometimes the juxtapositions provocatively contradict what audience sees (and keep it guessing and therefore actively involved in decision-making) 0 1 2 3 4 5
Central character fully developed with agenda, obstacles, and something to overcome 0 1 2 3 4 5
There is a resolution 0 1 2 3 4 5
The character develops 0 1 2 3 4 5
Using VO is motivated and justified 0 1 2 3 4 5
VO contributes to the sense of a completed dramatic arc in the piece 0 1 2 3 4 5
TOTAL

ASSESSMENT 6-3A (DRAMATIZING AN ENVIRONMENT)

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

ASSESSMENT 6-4A, B (DIALOGUE SCENE)

Editing Action match cuts flow smoothly 0 1 2 3 4 5
Screen directions are correctly maintained 0 1 2 3 4 5
Room geography is revealed as necessary, and not confusingly for a first-time viewer 0 1 2 3 4 5
Convincing dialogue rhythms are maintained even when a picture cut happens in mid-sentence 0 1 2 3 4 5
Moments of significant action and charged silence have been fully exploited 0 1 2 3 4 5
Changes of scene rhythm occur convincingly with changes in the characters' moods, perceptions, thought patterns, and actions 0 1 2 3 4 5
Eyeline shifts have been fully exploited as cutting points 0 1 2 3 4 5
No character makes a major change of position offscreen (A screen convention, not always obeyed, is that when cutting back to a character, we find him or her as last seen. Transitional movements are often shown, rather than heard or implied.) 0 1 2 3 4 5
Editing appropriately and consistently shows characters as either the actor or the acted upon 0 1 2 3 4 5
Point of view The scene is shot and cut to convey a discernible point of view (that is, it effectively reveals the state of mind of the main character or of the Storyteller) 0 1 2 3 4 5
The scene makes psychological sense by breathing, that is, it moves us close or far from the action in answer to our needs as audience members 0 1 2 3 4 5
The game (or other shared activity) is used to effectively reveal psychological changes in the characters 0 1 2 3 4 5
Dramaturgy The game develops convincingly 0 1 2 3 4 5
The environment is fully utilized by the characters and made into an active component in the drama 0 1 2 3 4 5
There are no redundancies of dialogue, action, or angle, etc. 0 1 2 3 4 5
The scene feels right in length (better to feel a little short than too long) 0 1 2 3 4 5
The scene implies backstory and what might come after 0 1 2 3 4 5
Impact The piece holds your interest throughout 0 1 2 3 4 5
The actors are engaging and natural throughout 0 1 2 3 4 5
Significant subtexts are implied 0 1 2 3 4 5
TOTAL

ASSESSMENT 6-5A, B, C (IMPROVISED SCENE)

Authorship and directing Situation included all necessary expository detail 0 1 2 3 4 5
Exposition was artfully concealed in the action 0 1 2 3 4 5
A definite point of view emerged 0 1 2 3 4 5
The piece was revealing of the characters' relationships 0 1 2 3 4 5
There was a definite premise and the piece delivered on it 0 1 2 3 4 5
Pacing was excellent throughout 0 1 2 3 4 5
There was a clear structure to each dramatic unit 0 1 2 3 4 5
The beats were clear and effective 0 1 2 3 4 5
Acting All actors were at ease 0 1 2 3 4 5
Actors were equally active; nobody took passive position 0 1 2 3 4 5
Actors were listening and in communion with each other 0 1 2 3 4 5
Each character was sharply drawn and credible 0 1 2 3 4 5
Each character's agenda was evident 0 1 2 3 4 5
Camerawork Mobile, handheld coverage was well-framed throughout 0 1 2 3 4 5
Camera was where it needed to be at all times 0 1 2 3 4 5
Camera was never caught by surprise 0 1 2 3 4 5
Mobile coverage motivated by characters' movements worked well throughout 0 1 2 3 4 5
Close detail and close-ups always came when the audience needed them 0 1 2 3 4 5
Camera coverage managed to juxtapose crucial elements in the frame whenever it was important 0 1 2 3 4 5
Sound Sound coverage was consistently good Sound edited seamlessly together The mike was never in frame 0 1 2 3 4 5
Editing Any action match cuts flowed smoothly 0 1 2 3 4 5
Screen directions are correctly maintained 0 1 2 3 4 5
Room geography is revealed as necessary, and not confusingly for a first-time viewer 0 1 2 3 4 5
Convincing dialogue rhythms are maintained even when a picture cut happens in mid-sentence 0 1 2 3 4 5
Moments of significant action and charged silence have been fully exploited 0 1 2 3 4 5
Changes of scene rhythm occur convincingly with changes in the characters' moods, perceptions, thought patterns, and actions 0 1 2 3 4 5
Eyeline shifts have been fully exploited 0 1 2 3 4 5
No character makes a major change of position offscreen 0 1 2 3 4 5
Editing appropriately and consistently shows characters as either the actor or the acted upon 0 1 2 3 4 5
Point of view The scene is shot and cut to effectively reveal the state of mind of the main character or of the Storyteller 0 1 2 3 4 5
The scene makes psychological sense by breathing, that is, it moves us close or far from the action in answer to our needs as audience members 0 1 2 3 4 5
The action effectively reveals psychological and emotional changes in the characters 0 1 2 3 4 5
Dramaturgy The piece develops convincingly 0 1 2 3 4 5
The environment is fully utilized by the characters and made into an active component in the drama 0 1 2 3 4 5
There are no redundancies of dialogue, action, or angle, etc. 0 1 2 3 4 5
The scene feels right in length (better to feel a little short than too long) 0 1 2 3 4 5
The scene implies backstory and what might come after 0 1 2 3 4 5
Impact The piece holds your interest throughout Significant subtexts are implied 0 1 2 3 4 5
The piece makes a real and moving statement 0 1 2 3 4 5
TOTAL

ASSESSMENT 6-6A, B, C, D (PARALLEL STORYTELLING)

Authorship and directing Each situation included all necessary expository detail 0 1 2 3 4 5
Exposition was artfully concealed in the action 0 1 2 3 4 5
A definite point of view emerged 0 1 2 3 4 5
Each piece was revealing of the character 0 1 2 3 4 5
There was a definite premise and each piece delivered on it 0 1 2 3 4 5
Pacing was excellent throughout 0 1 2 3 4 5
There was a clear structure to each dramatic unit 0 1 2 3 4 5
The beats were clear and effective 0 1 2 3 4 5
Acting Actors were at ease 0 1 2 3 4 5
Each character was sharply drawn and credible 0 1 2 3 4 5
Each character's agenda was evident 0 1 2 3 4 5
Camerawork Mobile, handheld coverage was well-framed throughout 0 1 2 3 4 5
Camera was where it needed to be at all times 0 1 2 3 4 5
Camera was never caught by surprise 0 1 2 3 4 5
Mobile coverage motivated by characters' movements worked well throughout 0 1 2 3 4 5
Close detail and close-ups always came when the audience needed them 0 1 2 3 4 5
Camera coverage managed to juxtapose crucial elements in the frame whenever it was important 0 1 2 3 4 5
Sound Sound coverage was consistently good Sound edited seamlessly together The mike was never in frame 0 1 2 3 4 5
Editing Any action match cuts flowed smoothly 0 1 2 3 4 5
Screen directions are correctly maintained 0 1 2 3 4 5
Room geography is revealed as necessary, and not confusingly for a first-time viewer 0 1 2 3 4 5
Moments of significant action and charged silence have been fully exploited 0 1 2 3 4 5
Changes of scene rhythm occur convincingly with changes in the characters' moods, perceptions, thought patterns, and actions 0 1 2 3 4 5
Eyeline shifts have been fully exploited 0 1 2 3 4 5
No character makes a major change of position offscreen 0 1 2 3 4 5
Editing appropriately and consistently shows characters as either the actor or the acted-upon 0 1 2 3 4 5
Point of view The scene is shot and cut to effectively reveal the state of mind of the main character or of the Storyteller 0 1 2 3 4 5
The scene makes psychological sense by breathing, that is, it moves us close or far from the action in answer to our needs as audience members 0 1 2 3 4 5
The action effectively reveals psychological changes in the characters 0 1 2 3 4 5
Dramaturgy The piece develops convincingly 0 1 2 3 4 5
The environment is fully utilized by the characters and made into an active component in the drama 0 1 2 3 4 5
There are no redundancies of dialogue, action, or angle, etc. 0 1 2 3 4 5
The scene feels right in length 0 1 2 3 4 5
The scene implies backstory and what might come after 0 1 2 3 4 5
Impact The piece holds your interest throughout 0 1 2 3 4 5
Significant subtexts are implied 0 1 2 3 4 5
The piece makes a real and moving statement 0 1 2 3 4 5
TOTAL

ASSESSMENT 6-6A, B, C, D (SUPPLEMENT—PARALLEL STORYTELLING)

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

ASSESSMENT 11-1 (SCENE WRITING)

Characters Gender identity of POV character is very convincing 0 1 2 3 4 5
Each character pursues his or her own agenda through action 0 1 2 3 4 5
The POV character's internal issues come across well 0 1 2 3 4 5
What the POV characters) try to do or get really allows us to understand them 0 1 2 3 4 5
The central characters are round, that is, fully realized rather than flat support characters 0 1 2 3 4 5
POV character's age is convincing in its concerns and characteristics 0 1 2 3 4 5
All the characters have a dramatic function in the piece 0 1 2 3 4 5
The characters each have different and characteristic actions 0 1 2 3 4 5
There is really someone to like and care about 0 1 2 3 4 5
Situation The situation(s) developed from the scene title are original and compelling 0 1 2 3 4 5
Genre The piece has a decided genre identity 0 1 2 3 4 5
The character types really belong in this genre 0 1 2 3 4 5
The story and the genre really complement each other 0 1 2 3 4 5
The genre is fully utilized and explored 0 1 2 3 4 5
The writer has imposed his or her own stamp on the norms 0 1 2 3 4 5
The genre has been extended but not disabled by the writer's individual handling 0 1 2 3 4 5
Screen time The piece feels neither too long nor too short 0 1 2 3 4 5
The piece comes in at its specified screen time 0 1 2 3 4 5
It covers considerable ground for its screen time 0 1 2 3 4 5
Scene crisis placement The high or turning point of the scene came where it was supposed to come 0 1 2 3 4 5
The lead up to it was wholly credible and well paced 0 1 2 3 4 5
The lead up built tension 0 1 2 3 4 5
The resolution after the scene crisis was convincing and well paced 0 1 2 3 4 5
Number of beats The writer built in the required number 0 1 2 3 4 5
Each beat was earned and effective 0 1 2 3 4 5
There was a developing pressure leading up to the beat 0 1 2 3 4 5
The beat caused changed consciousness (measurable in behavior) by at least one character 0 1 2 3 4 5
Setting(s) The settings are interesting and organic to the characters' situations 0 1 2 3 4 5
Time and environment are evident and necessary 0 1 2 3 4 5
The settings are used by the characters, not just included as backdrop 0 1 2 3 4 5
The settings feel authentic 0 1 2 3 4 5
Conflict Major issue or conflict is evident 0 1 2 3 4 5
Conflict is organic to characters and their situation, not contrived 0 1 2 3 4 5
Forces in opposition come to a point of confrontation 0 1 2 3 4 5
Conflict results in material issues and changes 0 1 2 3 4 5
Plot Necessary factual information is implied or evident 0 1 2 3 4 5
Exposition is artfully disguised, not verbalized 0 1 2 3 4 5
Events generate a forward movement 0 1 2 3 4 5
Story logic and character motivation is impeccable 0 1 2 3 4 5
Scene has energy and tension throughout 0 1 2 3 4 5
Structure Time progression is well handled 0 1 2 3 4 5
Events happen in their most effective order 0 1 2 3 4 5
There is a clear sense of developmental phases through the scene 0 1 2 3 4 5
Theme Thematic concerns develop naturally out of events we see 0 1 2 3 4 5
The piece implies a substantial comment on the piece's thematic concerns 0 1 2 3 4 5
Dialogue The dialogue rings true 0 1 2 3 4 5
Each character speaks with his or her own voice and vocabulary 0 1 2 3 4 5
There isn't a redundant word or syllable 0 1 2 3 4 5
Voice The piece comes from the heart as well as the head 0 1 2 3 4 5
The piece feels individual, not derivative or imitative 0 1 2 3 4 5
You can feel an individual and critical human spirit behind the conception of this scene 0 1 2 3 4 5
Impact Conflict is credible enough to have moral dimension 0 1 2 3 4 5
Someone, however minimally, changes and grows 0 1 2 3 4 5
You really want to know what happens next 0 1 2 3 4 5
TOTAL
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