Let's get you connected with some of the online accounts you'll be using for this class.

Click the Log In link at the top right hand corner of this page. When you arrive at the login page there is a small blue link that says Get an Adobe ID. Click that and follow the steps. Once you've set up your Behance profile you can follow me and add this project to your collection to access the course diretly from your profile. 

Some of the instruction for this class will be tutorial-based using a digital media education site called lynda.com. Here you can access introductory tutorials on Photoshop, Illustrator and Premiere Pro, or find more advanced instruction to help you take your skills further. Lynda.com is a professional, reliable, ad-free education site that is actively updated to deliver instruction on the latest software. Luckily for us, with our library cards it's free. Seriously good deal! 

To get started:

1) Obtain your library card and PIN information (the last 4 digits of your phone number). If you don't already have one, you can sign up for one at your local library and get started.

2) Go to the Winnipeg Library lynda.com portal and follow the steps to create your account. 

The email address you submitted in the questionaire will allow me to invite you to Engrade. Click the invite link you can follow the steps to register your acount. It may take a week or so to collect everyone's info so keep checking back for the invite.

 Intent:
To demonstrate the basic principles of contrast and affinity through a series of still images.

Task:
Using a camera of your choice (phone, personal or classroom camera) take two sets of photos (6 per set). Each set will represent a basic principle of visual imagery: Contrast and Affinity.

“The Principle of Contrast & Affinity states: The greater the contrast in a visual component, the more the visual intensity or dynamic increases. The greater the affinity in a visual component, the more the visual intensity or dynamic decreases.

​​​​​​​

Contrast = Greater Visual Intensity
Affinity = Less Visual Intensity”

Steps:

In the Contrast set, you will take a series of photographs that contrast back and forth from one to the next. The theme or motif used in this set should be consistent throughout and work in a pattern that goes: “A.B.A.B.A.B”

So, for example, you may choose light or “tone” as your motif. You will take a series of bright and dark photos and then shuffle them together so they go “bright, dark, bright, dark...” The theme is light, but the value is contrasted.

In the Affinity set, you will take photographs that have a consistent visual arrangement. In this set the visuals will repeat in each shot. For example, you may choose vertical lines as your motif. Your set might look like “trees, a fence, lockers, etc.” The goal in creating affinity here would be to make the lines themselves stand out as much as possible, so you’d have to make sure to frame each shot very thoughtfully. Note that adding something like a photo of lined paper would not fit in with the Affinity Principle as the paper has horizontal lines which would in fact Contrast with the vertical motif.

Title your first post with a bold headline that reads: Warmup Activity: Contrast and Affinity
After your title, write a short paragraph that describes the activity and indicates what type of motif you chose. 

For example: 

"This is a warmup activity for Intro to Digital film. We were supposed to choose a visual motif to demonstrate Contrast and Affinity in a series of photos. For my photo set I chose to use circles and squares as a visual motif."

/1 mark per photo x 12 photos
/6 marks for correct photo grid upload and descriptive paragraph
/2 marks for Behance post

https://vimeo.com/channels/cinephileshttps://vimeo.com/channels/cinephiles

In cinematography, composition refers to the frame of the image and how the elements of the mise-en-scène appear in it. Composition guidelines must be observed when telling stories visually, as in filmmaking. Useful conventions are applied to make heroes stronger, villain ominous, generate anxiety, give the audience tranquility, and more. 

When applying The Rule of Thirds, the intersections of the two vertical and two horizontal lines are points of interest, where important objects are often placed. These points of interest are comfortable to the eye, thus the middle portion of the frame are kept "empty" or clear.

The types of shots directors use is always intentional. The way a scene is framed has an impact on how the viewer "reads" the action on screen. When directors visualize each dramatic moment in the script, they choose the shot size that best communicates the narrative, emotional, and thematic meaning for each moment. Shot size plays an important role in creating the emotional connections between audience and characters, and the frame of reference is the human form.

 

Typically, a shot selection is based on one or more of the following:

 

     - Function: How does this shot help to tell the story or establish understanding for the audience?

     - Importance: What specific elements, action or characters will this shot highlight?

     - Emotion: Will this create a connection between the audience and the characters of the story?

     - Theme or concept - How does this composition tie in to the overarching themes in the film?

 

These criteria help advance the story in some way. Regardless of which shot you choose to use in filmmaking, remember to ask yourself, what will this shot accomplish to help bring the story to life in the minds of the audience?

Act as a DOP (Director of Photography) to create a shot list that demonstrates a range of commonly used camera angles in cinema:

1) The rule of thirds

2) Extreme Close Up (ECU)

3) Close Up (CU)

4) Medium Close Up (MCU)

5) Mid Shot (MS)

6) Full Shot (FS)

7) Wide Shot (WS)

8) Extreme Long Shot/ Establishing Shot (ES)

9) Two-Shot (TS)

10) Point of View (POV)

11) Over the Shoulder (OTS)

12) Eye Level

13) High Angle

14) Low Angle

15) Undershot

16) Overhead

17) Dutch tilt

In a new entry to your Unit 1 project, create a heading titled "Shots & Composition" with a subheading that says "Part 1".

Copy and paste the shot list into your project, and complete each definition with the following: Shot description and a sample context in which the scene might be used. 

Step 1: Work with a partner to shoot a unique 5 second clip for each of the shot types listed. Your partner will be the subject for your shots, however, you will each take your own unique set of shots. Use the classroom cameras or your own smart device for this exercise. Think of some interesting or original setups for your shots. Be creative and have fun!

Step 2: Once you are satisfied with the quality of your examples, create a new title in your "Unit 1 - Intro to Digital Film" project that says "Activity 1 - Shots and Composition" 

Format the project in the following way: 

Edit your video and indicate the type of shot with a title on screen. Run time should be approx. 1:30 (not including titles). In your Unit 1 project, following your video, write a list of all 17 shot types that include a brief description (in your own words) of their use in film making.

Step 3: Publish to Behance under a new project titled "Intro to Digital Film - Unit 1" 

and tag with a minimum of 5 relevant phrases. 

+15 marks

In groups of 3, recreate the following shots and edit into a short camera movement demo reel:

- Crane down

- Crane up

- Crane high to low angle

- Quick pan

- Quick push in

- Slow dolly in

- Slow dolly out

- Dolly across

- Glide cam camera

- Handheld

- Glidecam 360 reveal

- Hidden cuts using whip pan (3 clips)

Everyone edits their own video! Be sure to include a title indicating each shot.

/10 Each movement clearly demonstrated with steady, consistent motion and subject positioning

/5 Titles in a clear and legible font using "lower thirds" approach

​​​​​​​+25 Marks

Post-production, and more specifically editing, have historically been the most overlooked aspects of filmmaking - yet they are often considered the most important. Editing takes place when Production has wrapped, but although the actors and set crew are no longer working on the project, the storytelling is not yet complete. An editor knows the story inside and out - and shares the vision that the director is trying to accomplish. Editors are masters at understanding the interplay between timing and story to communicate a message, and can drastically influence the mood and feel of a scene simply with the way they choose to cut it!

A set of clips can be edited in an infinite number of ways. But the way each editor will approach a scene comes down to very specific choices that reflect the way they interpret the story. The way you choose to edit will be entirely up to you, and in this activity you will choose what your edit will say. 

But once film is cut the story is still not complete. A team of post-production specialists shape the final cut by adding colour grading, score and visual effects. The result is much more than the sum of its parts - it's emotional complexity, a fictional experience that can elicit real emotion from an audience and help them connect with the story. 

In addition to camerawork and lighting, there are 3 main elements that contribute to mood in film:

       1) Music (and sounds) 

Plan, shoot and edit a 1 minute Mood Sequence that depicts a moment from your life and communicates a specific mood to your audience.

Brainstorm 3 possible ideas about what you'd like to shoot. For each idea, write a few sentences about how you would go about shooting it. For example, if you are going to film time passing at the park, what do you anticipate happening? Will you show wind blowing through the trees? Clouds overhead? Wildlife or pets? Documenting an evening with a friend might be very different from documenting an evening with a sibling. How would you anticipate each one would go? Consider also the date, location and participants in your shoot when deciding which option will be the most successful. Dialogue is not required and you may use only 1 instrumental song for your video. 

Pick your favourite idea and write a 3 sentence pitch under a new heading titled: "Activity 2 - Editing a Mood" in your Unit 1 project. The pitch should describe the mood you think you will capture. Remember, this may change!

Step 2: All filming must be complete for the following class. 

*All subjects who appear in your video must have expressed permission to appear on video in your project*

Teacher tip 1: On average, documentarians recommend filming approximately 30x the amount of footage required for the final piece. For this type of project, you can expect to capture at least 10x the amount of footage as is required (a 1 minute finished piece will require at least 10 minutes of raw footage to work from). 

Teacher tip 2: Be open to seeing where your shots take you. Think about your mood while you are shooting. What does it feel like? How is the outside world reflecting your mood back at you? Point your camera at the reflection and record it!

Step 3: Editing will take place the week of October 9-12th in class. Bring your USB every day and come prepared!

-Limit of 1 song (instrumental only - NO LYRICS!)

-Sequence must be 1:00 to 1:20 long (excluding titles)

-Must include a title and end credits including music credits and link

-Before you export your video, take a screenshot of your premiere edit by pressing the "PrtScn" button on your keyboard, selecting your entire project window, and taking a picture. Upload this photo to your behance page underneath your pitch. 

-Export and upload your finished video to Vimeo and embed the video beneath your project pitch.

Step 4: Write a 200 word reflection/summary piece on your Mood Sequence. Describe how each of the elements (Music, colour and editing) contribute to the mood you're trying to achieve. Reflect on the experience. What changed? How did you adapt? Does the piece accomplish what you wanted it to? Why or why not?

- Post reflection beneath your Mood Sequence. 

Due: TBA
+30 Marks

Intent: 

To demonstrate the narrative power of shots, composition and camera movement in a one-minute dialogue-free film.

In this activity you will work in a group of three to brainstorm, plan, storyboard, shoot and edit a 1 minute short film. In order to isolate camerawork as your driving narrative force, you cannot include dialogue in your story. All plot points and character motive must be demonstrated through the camera and your character's movement & expression. Your film must contain at least 12 separate shots. 

The story itself will be simple - you are just showing a character walking. At the end of the scene they will arrive at their location; this is just a way to quickly resolve the scene. Why they are walking, where they are walking to, what they look like, how they move, and who they are are entirely up to you. 

Brainstorm 3 possible ideas. One idea per group member.

Choose your story. Discuss your ideas as a group. You may form new ideas or decide on something entirely new as you get together, but: we must get a clear sense of what is happening and what thoughts or emotions the character might be experiencing. 
Post your pitches. In your Unit One project under a new Activity 3 heading, each group member will post everyone's story pitches, indicated by name, followed by the final group pitch. 

Sketch out the visuals. This is to get a preliminary idea of what your character and setting will look like. 

Scout your location. You will go to your shoot location and plan exactly where your character will go. All filming for this activity must be done during class time inside the school. 

Make a map. This is a literal overhead map of where your character will go. Trace their movement from start to finish, you will add in cameras later. 

Determine camera motivation. This is where cinematography comes into play. Why will your camera move the way it does? Is it following the character? Is it looking at something significant? Is it level? Is it moving at all? Use the reference material in class to help determine these factors.

1 Minute long (+/- 10 seconds)

Each group member edits their own scene

Maximum 1 song

No dialogue

Use of a minimum of 3 Shot Setups from Christopher Kenworthy's Master Shots Vol. 3, identified in your overhead map and on your storyboard

Due: TBA

+25 Marks

You wouldn't guess it, but little of the audio you hear in movies was recorded live (or "in the field"). Aside from dialogue, most of the sounds that bring a film to life are created in a post-production studio using a technique called Foley Art. 

Named after Jack Foley, a sound crew member at Universal Studios in 1914, was the first to introduce sound effects into silent films. Using props in a recording studio, Foley would recreate the sounds of the action on screen and record them to a tape. It had to be perfect - the track was recorded in only one take, so Foley and his crew would record the entire sound effects (SFX) track at once. Making sure that every footstep and closing door lined up perfectly was an incredibly difficult task! 

Today, the same basic techniques are used in the studio to capture sounds, but digital editing software allows for much more flexibility. 

Foley Art is used almost universally in film and tv production because it helps to add depth and richness to a scene, but it is not limited to SFX. Even the most subtle sounds, ones we hear without thinking about consciously, can impact the believability of a scene. Room tone, for example, is used to fill gaps in dialogue on TV shows all the time... The sound crew members just stand there holding the mic - and record the quiet room! Other sounds like a bustling restaurant may be used to create ambiance on an otherwise empty set. 

Many filmmakers will argue that because our ears are so finely tuned to detect inconsistencies in sound, the audio carries at least 50% of the importance of a film. Our brains will fill in missing visual information, but not for missing or unnatural sound.

Foley Art is immensely important to film!

Redesign the sound for a movie clip (that will be provided to you) using Foley art. 

This activity will be held in groups of three. Choose your partners wisely!

1) Conduct a Spotting Session.As a team, watch the video over and over, and make a list of all the sounds that might happen in the scene. What action can you see? What would it sound like? Are there any details in the scene that should be accentuated with sound? Think outside the frame - what does the environment sound like? 

2)Create a Cue List. Beside each sound on your list, name an item or two that you might use to recreate it. Consider how you will plan to record your assets (I.e. Where will you record, how will you record it, and will you use a monitor to reference the video for timing?). (See teacher example for your cue list below.)

Mandatories

 - Include all three of the Foley categories: Footsteps, Cloth and Props.

 - You must include: at least 15 distinct sounds recorded through the Foley technique. 

 - At least 3 sounds that were created using an object that is not the same as the ones you are striving to replicate. 

Take at least 3 photos of the recording process that show the props and techniques used to capture the sound.  

3) Create a new Project entitled "Foley art - Purse Thief" and post your video with tags and a description of the project. Post your cue list (can be done in photoshop, word, etc. followed by the photos of your recording session, and the finished video. 

Video credit: Joel Plunkett on YouTube

For a refresher on the class demonstration for recording in Premiere CS6, click here

In the most basic terms, a screenplay is a 90-120 page document written in Courier 12pt font on 8 1/2" x 11" bright white three-hole punched paper. Wondering why Courier font is used? It's a timing issue. One formatted script page in Courier font equals roughly one minute of screen time. That's why the average page count of a screenplay should come in between 90 and 120 pages. Comedies tend to be on the shorter side (90 pages, or 1 ½ hours) while Dramas run longer (120 pages, or 2 hours).

 

A screenplay can be an original piece, or based on a true story or previously written piece, like a novel, stage play or newspaper article. At its heart, a screenplay is a blueprint for the film it will one day become. Professionals on the set including the producer, director, set designer and actors all translate the screenwriter's vision using their individual talents. Since the creation of a film is ultimately a collaborative art, the screenwriter must be aware of each person's role and as such, the script should reflect the writer's knowledge.

 

For example, it's crucial to remember that film is primarily a visual medium. As a screenwriter, you must show what's happening in a story, rather than tell. A 2-page inner monologue may work well for a novel, but is the kiss of death in a script. The very nature of screenwriting is based on how to show a story on a screen, and pivotal moments can be conveyed through something as simple as a look on an actor's face. Let's take a look at what a screenplay's structure looks like.

 

 

While screenplay formatting software such as Final Draft, Movie Magic Screenwriter, Movie Outline and Montage frees you from having to learn the nitty-gritty of margins and indents, it's good to have a grasp of the general spacing standards.

The top, bottom and right margins of a screenplay are 1". The left margin is 1.5". The extra half-inch of white space to the left of a script page allows for binding with brads, yet still imparts a feeling of vertical balance of the text on the page. The entire document should be single-spaced.

 

The very first item on the first page should be the words FADE IN:. Note: the first page is never numbered. Subsequent page numbers appear in the upper right hand corner, 0.5" from the top of the page, flush right to the margin.

 

 

Below is a list of items (with definitions) that make up the screenplay format, along with indenting information. Again, screenplay software will automatically format all these elements, but a screenwriter must have a working knowledge of the definitions to know when to use each one.

 

   Scene Heading
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

A scene heading is a one-line description of the location and time of day of a scene, also known as a "slugline." It should always be in CAPS.

Example: EXT. WRITERS STORE - DAY reveals that the action takes place outside The Writers Store during the daytime.

 

   Subheader
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

When a new scene heading is not necessary, but some distinction needs to be made in the action, you can use a subheader. But be sure to use these sparingly, as a script full of subheaders is generally frowned upon. A good example is when there are a series of quick cuts between two locations, you would use the term INTERCUT and the scene locations.

 

   Action
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

The narrative description of the events of a scene, written in the present tense. Also less commonly known as direction, visual exposition, blackstuff, description or scene direction.

Remember - only things that can be seen and heard should be included in the action.

 

  Character
Indent: Left: 2.0" Right: 0.0" Width: 4.0"

When a character is introduced, his name should be capitalized within the action. For example: The door opens and in walks LIAM, a thirty-something hipster with attitude to spare.

A character's name is CAPPED and always listed above his lines of dialogue. Minor characters may be listed without names, for example "TAXI DRIVER" or "CUSTOMER."

 

   Dialogue
Indent: Left: 1.0" Right: 1.5" Width: 3.5"

Lines of speech for each character. Dialogue format is used anytime a character is heard speaking, even for off-screen and voice-overs.

 

   Parenthetical
Indent: Left: 1.5" Right: 2.0" Width: 2.5"

A parenthetical is direction for the character, that is either attitude or action-oriented. With roots in the playwriting genre, today, parentheticals are used very rarely, and only if absolutely necessary. Why? Two reasons. First, if you need to use a parenthetical to convey what's going on with your dialogue, then it probably just needs a good re-write. Second, it's the director's job to instruct an actor on how to deliver a line, and everyone knows not to encroach on the director's turf!

 

   Extension
Placed after the character's name, in parentheses

An abbreviated technical note placed after the character's name to indicate how the voice will be heard onscreen, for example, if the character is speaking as a voice-over, it would appear as LIAM (V.O.). If a character is speaking from off-screen, it would appear as O.S.

 

   Transition
Indent: Left: 4.0" Right: 0.0" Width: 2.0"

Transitions are film editing instructions, and generally only appear in a shooting script.

 

Transition verbiage includes:

CUT TO:
DISSOLVE TO:
SMASH CUT:
QUICK CUT:
FADE TO:

 

As a spec script writer, you should avoid using a transition unless there is no other way to indicate a story element. For example, you might need to use DISSOLVE TO: to indicate that a large amount of time has passed.

 

   Shot
Indent: Left: 0.0" Right: 0.0" Width: 6.0"

A shot tells the reader the focal point within a scene has changed. Like a transition, there's rarely a time when a spec screenwriter should insert shot directions. Once again, that's the director's job. 

Examples of Shots:

ANGLE ON --
EXTREME CLOSE UP --
PAN TO --
LIAM'S POV --

 

Credit: https://www.writersstore.com/how-to-write-a-screenplay-a-guide-to-scriptwriting/

After reading the opening scene, respond to each of the following questions in a properly formatted paragraph. You can cite any element of the screenplay to make your point. Remember to give context to your response and feel free to use at least two excerpts for each question. 

Brainstorm a product - This can be a physical product or a service - but you must be able to represent it on screen. If you are designing a product you will need to mock up a prop on your own time. 

Consider the product's key benefits - What makes this product useful? If you aren't sure, you need a new product. Consider who your competitors are and what their product does. What are the most essential benefits the customer will receive?

Determine your USP (Unique Selling Proposition) - This is the factor or consideration presented by a seller as the reason that one product or service is different from and better than that of the competition

Identify a target audience - Who is the group you are trying to reach? If your product has mass appeal, try to narrow down to a specific segment of the market (Milk appeals to most people, but your target audience for a specific milk ad might be teenage athletes).

Brainstorm a big idea (Examples - Allstate: “Mayhem”, Nicorette: “Quitting Sucks”)

Compile your results from each of these steps in a Google slide and embed in your Unit 2 project under the heading "Screenplay Production - The 30 Second Ad"

Your commercial should use any means available to convince the audience that they need and want the product.

Form groups. Take the first 10 minutes to read through the scripts independently. When you are finished, take another ten minutes to share your initial reaction to the script with the group. When you are sharing your thoughts, the person before you will record your comments on their computer. When you're finished, move to the next person in the group. You will now record their comments and so on until everyone has had a chance to express their views.

You will now read the script as a team in what is known as a table read. Divide your team into roles that cover all of the characters and the "narrator" (they will read the action lines and carry the energy throughout the read). Remember to read with emphasis to reflect the emotions of the characters. The more dramatic your table read is, the better time you'll have forming a mental picture of how it will look. The table read should take a little over 5 minutes. You will do this twice. The first round will be a straight read-through, but on the second round you'll pause to discuss certain aspects of the script. This is where your ideas will come into play.

Some starting points to consider:

     - Where could this take place?

     - What do the characters look like?

     - How would you depict the scene in terms of shots, composition, and camera movement?

     - What elements could be added or taken away to enhance the story?

Have one group member take notes as you go. Once you have compiled your ideas, it's time to brainstorm. 

Come up with some initial ideas on where you will shoot, who you will cast and what your "big idea" is for the project. Delegate the following roles among your group: Director, 1st Assistant Director, Camera Operator, Key Grip. In addition to this you will have to form your team of actors. They can be friends, students from the drama program, and/or your group members. In many cases you will be both acting and producing. 

Set your schedule. You should create a bullet point list with at least 5 dates in which each component will be completed (storyboard, scout locations and cast, shoot, edit & post).

In your "Intro to Digital Film - Unit 2" project, post the following with titles under a new heading called "Screenplay Production":

Thumbnailing: this stage is where you block out your scene. Don't get caught up in depicting details. What you want to do is capture the major composition of each shot so we can see how the scene is constructed at a glance. 

An approximate guide for your thumbnails:

Approximate scene length: 4:30 (270 seconds)

Approximate length per shot: 5 seconds

270 / 5 = 54

You will be drawing approximately 54 thumbnails for the project. Remember that in an intercut scene (where the camera cuts back and forth from one character to another in a conversation) will count as 1 thumbnail for each cut. 

When you are finished thumbnailing, take a photo of each sheet and under a new heading named "Scene Thumbnails"  upload them to a photo grid in your project. Beneath the photo grid, write a brief description of why you are thumbnailing and what it represents. 

Video editing is the process of manipulating and rearranging video shots to create a new work. Editing is usually considered to be one part of the post production process — other post-production tasks include titling, colour correction, sound mixing, etc.

Many people use the term editing to describe all their post-production work, especially in non-professional situations. Whether or not you choose to be picky about terminology is up to you. Editing can mean any of the following:   

Analyze a short scene and identify all of the edit points and their type. This will help you get an understanding of the variety of edits used, the pace of cutting a scene, and where/when certain edits are used to enhance tension and emotion. 

1. Download the Indiana Jones scene clip from your V:/classes/DFHR2S/Out folder. 

2. Open the clip in the VLC player by right clicking on the file and selecting Open with > VLC Media Player. Watch the scene once in its entirety and just pay attention to the story and action. 

3. Watch the scene again, this time pausing every time there is an edit. You can scrub forward frame-by-frame by pressing the spacebar to pause and then hitting the "e" key on the keyboard. Take note of the timecode and write it down. You should use the last frame of the previous clip to identify the edit. 

4. In a word document, create a list of all the edit timecodes and their edit style. It should look like this:

5. When you have completed your list, paste it to your "Intro to Editing" section in your Unit 2 folder under the title "Part 2"

Your completed summative project must be posted to Behance in a new project titled "Intro to Digital Film - Summative Project" and include the following elements:

     - Your pitch

     - Photos and/or images of your storyboard, screenplay or both (if both were made created) 

     - An embedded Vimeo copy of your final video/short film

     - All other components as described in the outline

Type a 150 word, or 4-5 sentence pitch for your project concept. The pitch should be professionally worded and include a basic overview of the plot, and any relevant technical information about how/when/where/what/who you plan to shoot. Post to behance under a new project titled "Intro to Digital Film - Summative Project" with 5 relevant tags. Your pitch will be the first heading in your project, titled "Pitch."

Based on your teacher conference, you will complete a mix of storyboard and screenplay that best suits your project. Take photos of all the pages of both screenplay and storyboard and post to your summative portfolio under the heading "Storyboard and Screenplay."

To be completed in and/or outside of class. All actors under the age of 18 must sign a media release form to be sumbmitted to Mr. DL before production begins. 

Screenplay (originality, creation of mood, clear message, formatting) and/or Storyboard (clarity, use of camera angles, facial expressions and arrows to tell the visual story)

Video (varied camera angles that serve the message / help tell the story, steady camerawork)

Audio (clear dialogue/narration/music, even levels, effective use of foley) 

Editing (natural timing that contributes to the mood, message, and overall flow of the piece, appropriate transitions, lack of jump cuts/unnecessary footage)

Overall aesthetic appeal (appropriate for target audience, well established mood/feel/vibe)

Behance (posted required material as per online instructions)