Members:

Bautista, Sebastian Ray S.

Castañeda, Daniel Bernard V.

Francisco, Jasmine Cassandra S.

Rentillo, Princess Dominique B.

Sacristan, Allen Dominic S.

Batac, Cyrus D. (ABSENT)

Agne, Mykel Benedict R.

De Onon, Juan Miguel L. (ABSENT)

Hipolito, Rian Gabriel A.

Flores, Leanne Nicole S.

Sayson, Breana N.

MEMBERS:

ENCARNACION

ISLETA

RAMOS

ANGELES

BAUTISTA

Cambi, Marcus Joshua

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Gillesania, Narlia

Hipolito, Atasha Mikhail

Nataño, Alexander Matthew

Gasoc, Zaira

Pal, Julia Hanne

Ramos, Naomi

Sison, Jana Czarainne

Tangzo, Sophia Eunice (absent)

Yu, Kichi Chelsy

Members:

John Carl Amacio

Irish Bataller

Daezel Rachel Rodriguez

Leal Isiah Juat

Marco Antonio Dollison (ABSENT)

Pal, Julia

Ramos, Naomi

Sison, Jana

Tangzo, Sophia

Yu, Kichi

Agne, Mykel Benedict R.

De Onon, Juan Miguel L.

Hipolito, Rian Gabriel A.

Flores, Leanne Nicole S. (ABSENT)

Sayson, Breana N.

Bautista, Sebastian Ray S.

Castañeda, Daniel Bernard V.

Francisco, Jasmine Cassandra S.

Rentillo, Princess Dominique B.

Sacristan, Allen Dominic S.

Batac, Cyrus D.

Cambi, Marcus Joshua

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Gillesania, Narlia

Hipolito, Atasha Mikhail

Nataño, Alexander Ma tthew

Encarnacion

Ramos

Bautista, T.

Angeles

Isleta

Member:

John Carl Amacio

Irish Bataller

Daezel Rachel Rodriguez

Marco Dollison

Leal Isiah Juat

Bautista, Sebastian Ray S.

Castañeda, Daniel Bernard V.

Francisco, Jasmine Cassandra S.

Rentillo, Princess Dominique B.

Sacristan, Allen Dominic S.

Batac, Cyrus D.

Agne, Mykel Benedict R.

De Onon, Juan Miguel L.

Hipolito, Rian Gabriel A.

Flores, Leanne Nicole S.

Sayson, Breana N.

Cambi, Marcus Joshua

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Gillesania, Narlia

Hipolito, Atasha Mikhail

Nataño, Alexander Matthew

Pal, Julia

Ramos, Naomi

Sison, Jana

Tangzo, Sophia

Yu, Kichi

Irish Bataller

Daezel Rachel Rodriguez

Marco Dollison

Leal Isiah Juat

Encarnacion

Ramos

Angeles

Isleta

Bautista

Bautista, Sebastian Ray S.

Castañeda, Daniel Bernard V.

Francisco, Jasmine Cassandra S.

Rentillo, Princess Dominique B.

Sacristan, Allen Dominic S.

Batac, Cyrus D.

Agne, Mykel Benedict R.

De Onon, Juan Miguel L.

Hipolito, Rian Gabriel A.

Flores, Leanne Nicole S.

Sayson, Breana N.

Pal, Julia

Ramos, Naomi

Sison, Jana

Tangzo, Sophia

Yu, Kichi

Members:

John Carl D. Amacio

Marco Dollison

Irish Bataller

Daezel Raechel Rodriguez

Leal Isiah Juat

Cambi, Marcus Joshua

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Gillesania, Narlia

Hipolito, Atasha Mikhail

Nataño, Alexander Matthew

For mas clear na picture po:

https://drive.google.com/file/d/1EIdU-qOczaItM3Or_jWH1Gg5AR6geUAJ/view?usp=sharing

Members:

Tristan Bautista

Sabrina Ramos

Marion Encarnacion

Yeshie Angeles

Jewel Isleta

Amacio, John Carl

Bataller, Irish

Dollison, Marco

Juat, Leal Isaiah

Rodriguez, Daezel Rachel

Members:

Tristan Bautista

Marion Encarnacion

Jewel Isleta

Yeshie Angeles

Sabrina Ramos

Bautista, Sebastian Ray S.

Castañeda, Daniel Bernard V.

Francisco, Jasmine Cassandra S.

Rentillo, Princess Dominique B.

Sacristan, Allen Dominic S.

Batac, Cyrus D.

Agne, Mykel Benedict R.

De Onon, Juan Miguel L.

Hipolito, Rian Gabriel A.

Flores, Leanne Nicole S.

Sayson, Breana N.

Cambi, Marcus Joshua

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Gillesania, Narlia

Hipolito, Atasha Mikhail

Nataño, Alexander Matthew

Link for video presentation:

https://drive.google.com/drive/folders/11iyc8j9ajLBgvwagGgNGSqw9uhjCXXta

Gasoc, Zaira

Pal, Julia

Ramos, Naomi

Sison, Jana

Tangzo, Sophia

Yu, Kichi

Link for video presentation:

https://drive.google.com/drive/folders/1iAd2QfOf6snPzfXEscVZN9KCr0EodawU?usp=sharing

Bautista, Sebastian Ray S.

Castañeda, Daniel Bernard V.

Francisco, Jasmine Cassandra S.

Rentillo, Princess Dominique B.

Sacristan, Allen Dominic S.

Batac, Cyrus D.

Agne, Mykel Benedict R.

De Onon, Juan Miguel L.

Hipolito, Rian Gabriel A.

Flores, Leanne Nicole S.

Sayson, Breana N.

Tristan Bautista

Sabrina Ramos

Marion Encarnacion

Yeshie Angeles

Jewel Isleta

Amacio

Bataller

Dollison

Juat

Rodriguez

Cambi, Marcus Joshua

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Gillesania, Narlia

Hipolito, Atasha Mikhail

Nataño, Alexander Matthew

Members:

Gasoc, Zaira

Pal, Julia

Ramos, Naomi

Sison, Jana

Tangzo, Sophia

Yu, Kichi

Agne, Mykel Benedict R.

De Onon, Juan Miguel L.

Hipolito, Rian Gabriel A.

Flores, Leanne Nicole S.

Sayson, Breana N

Pal, Julia Hanne

Ramos, Naomi Josefine

Sison, Jana Czarainne

Tangzo, Sophia Eunice

Yu, Kichi Chelsy

Cambi, Marcus Joshua

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Gillesania, Narlia

Hipolito, Atasha Mikhail

Nataño, Alexander Matthew

Bautista, Sebastian Ray S.

Castañeda, Daniel Bernard V.

Francisco, Jasmine Cassandra S.

Rentillo, Princess Dominique B.

Sacristan, Allen Dominic S.

Batac, Cyrus D.

ISLETA

RAMOS, S.

ANGELES

BAUTISTA, T.

Bataller

Amacio

Rodriquez

Dolison

Agne, Mykel Benedict R.

De Onon, Juan Miguel L.

Hipolito, Rian Gabriel A.

Flores, Leanne Nicole S.

Sayson, Breana N.

Cambi, Marcus Joshua

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Gillesania, Narlia

Hipolito, Atasha Mikhail

Nataño, Alexander Matthew

For informations:

https://drive.google.com/drive/folders/1pH8SmEz8rqRnKxgOQaCAdOEVndmDf23J

Members:

Bautista, Sebastian Ray S.

Castañeda, Daniel Bernard V.

Francisco, Jasmine Cassandra S.

Rentillo, Princess Dominique B.

Sacristan, Allen Dominic S.

Batac, Cyrus D.

BAUTISTA, T.

ISLETA

RAMOS, S.

ANGELES

Irish Bataller

Marco Dollison

Leal Isiah Juat

Daezel Rachel Rodriguez

Agne, Mykel Benedict R.

De Onon, Juan Miguel L.

Hipolito, Rian Gabriel A.

Flores, Leanne Nicole S.

Sayson, Breana N.

Cambi, Marcus Joshua

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Gillesania, Narlia

Hipolito, Atasha Mikhail

Nataño, Alexander Matthew

Hi po, Ma'am Jomae! Ito po 'yung link for our output. File too large po kasi lumalabas, hindi po namin ma-upload directly here sa padlet. Thank you po!

🔗 https://drive.google.com/file/d/1vHHILro1QRiYL75XAWffDMwtC5KZeoOj/view?usp=drivesdk

Gasoc, Zaira Lynne

Pal, Julia Hanne

Ramos, Naomi Josefine

Sison, Jana Czarainne

Tangzo, Sophia Eunice

Yu, Kichi Chelsy

BAUTISTA, T.

ENCARNACION

ISLETA

RAMOS, S.

Members:

Bautista, Sebastian Ray S.

Castañeda, Daniel Bernard V.

Francisco, Jasmine Cassandra S.

Rentillo, Princess Dominique B.

Sacristan, Allen Dominic S.

Batac, Cyrus D.

Amacio

Bataller

Dollison

Juat

Rodriguez

Angeles, Yeshie Mhay T.

Bautista, Tristan Jhon S.

Hipolito, Rian Gabriel A.

Hipolito, Atasha Mikhail S.

Sayson, Breana N.

Flores, Leanne Nicole

Gasoc, Zaira Lynne

Isleta, Luriez Jewel

Juat, Leal Isaiah

Nataño, Alexander Matthew

Angeles, Yeshie Mhay T.

Bautista, Tristan Jhon S.

Hipolito, Rian Gabriel A.

Hipolito, Atasha Mikhail S.

Sayson, Breana N.

Flores, Leanne Nicole

Gasoc, Zaira Lynne

Isleta, Luriez Jewel

Juat, Leal Isaiah

Nataño, Alexander Matthew

Agne, Mykel Benedict

Cambi, Marcus Joshua

Dollison, Marco Antonio

Sacristan, Allen Dominic

Pal, Julia Hanne

Sison, Jana Czarainne

Castañeda, Daniel Bernard

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Encarnacion, Marion Rachel

Rodriguez, Daezel Rachel

Bataller, Irish

Bautista, Sebastian Ray

Francisco, Jasmine Cassandra

Gillesania, Narlia Isla

Ramos, Sabrina

Tangzo, Sophia Eunice

Batac, Cyrus

De Onon, Juan Miguel

Ramos, Naomi

Rentillo, Princess

Yu, Kichi

Batac, Cyrus

De Onon, Juan Miguel

Ramos, Naomi

Rentillo, Princess

Yu, Kichi

File name format: SECTION-GROUP#-Surname1_Surname2_Surname3_Surname4_Surname5_Surname6

Submit your video files in 4K resolution and MP4 file format through this link:

https://drive.google.com/drive/folders/1eTXW1MjEgYg1D4chHAcB1nSaimZyrCKR

Note:

• I will check your outputs as part our performance task and select qualified videos to be submitted as an entry.

• I will be in charge of submitting and registering your entries for the said contest.

Agne, Mykel Benedict

Cambi, Marcus Joshua

Dollison, Marco Antonio

Sacristan, Allen Dominic

Pal, Julia Hanne

Sison, Jana Czarainne

Angeles, Yeshie Mhay T.

Bautista, Tristan Jhon S.

Hipolito, Rian Gabriel A.

Hipolito, Atasha Mikhail S.

Sayson, Breana N.

Flores, Leanne Nicole

Gasoc, Zaira Lynne

Isleta, Luriez Jewel

Juat, Leal Isaiah

Nataño, Alexander Matthew

Castañeda, Daniel Bernard

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Encarnacion, Marion Rachel

Rodriguez, Daezel R achel

Bautista, Sebastian Ray

Bataller, Irish

Francisco, Jasmine Cassandra

Gillesania, Narlia

Ramos, Sabrina

Tangzo, Sophia Eunice

Submit your work within the day (March 3, 2025)

Make sure to include your group number and members when posting.

GROUP 1 - [BEARBRAND] https://www.youtube.com/watch?v=yxaUkVUp7M8

GROUP 2 - [EVER READY] https://www.youtube.com/watch?v=x0T66vptIJQ

GROUP 3 - [CHARMEE] https://www.youtube.com/watch?v=avLzaZAbm1A

GROUP 4 - [DOWNY] https://www.youtube.com/watch?v=r4Y0LUXEdGc

GROUP 5 - [VIVO] https://www.youtube.com/watch?v=zM2lt6264Vs

GROUP 6 - [FOOD PANDA] https://www.youtube.com/watch?v=a7SaDZSbV1k

Batac, Cyrus

De Onon, Juan Miguel

Ramos, Naomi

Rentillo, Princess

Yu, Kichi

1. Sound effect – At the start of the commercial, there is a scary breathing effect that brings chills to the listeners, showing how scary it is to experience ‘tagos’ if you do not use a napkin. The ad used wind sound effects to create a horror atmosphere and added a horrific scream to emphasize the distressing situation of having menstruation stains on one's pants.

2. Music – The start of the commercial includes scary music and vocals. with eerie music and haunting vocals, featuring deep, low-pitched tones that create a chilling atmosphere and evoke a sense of horror. After that, the music transitioned to a more lively tone while the commercial explains the details of the product and the benefits you can get from it. This musical shift not only grabs the viewer's attention but also effectively communicates the positive aspects of the product, making it a memorable and engaging advertisement.

   
   

Sound Design Principles:

1. Mixing – The commercial mixed different sound elements, which truly makes it phenomenal. In the first part, a slow and creepy sound was used to scare the listeners, then a lively music bed was used for the listeners to listen attentively.

2. Transition – Since multiple music effects are used in the commercial, they were able to create a stunning transition between the scary part and the lively segment of the commercial.

   
   

1. How did the advertisement effectively communicate the product/service benefits?

• The advertisement gave the benefits of the brand Charmee by listing the qualities that made it ideal to wear for periods. This includes the DryNet, which aids in giving a "dry-period" feel.

2. Are sound effects and background music used appropriately and how do they enhance the overall message?

• Yes the background music chosen is appropriate. In the start, it adds to the "horror-movie" feel of the commercial, and the shift between the intro and commercial proper was very well defined because of the change in music from scary to cheery.

3. Would the listener remember the product/service after hearing the ad? Why or why not?

• Yes, the listener would absolutely remember the ad after listening to it. This is because it really leaves an impression, especially the start. It also advertises the product incredibly well, driving people to purchase Charmee.

Members:

• Amacio, Carl

• Batac, Cyrus

• De Onon, Juan Miguel

• Ramos, Naomi

• Rentillo, Princess

• Yu, Kichi

Agne, Mykel Benedict

Cambi, Marcus Joshua

Dollison, Marco Antonio

Sacristan, Allen Dominic

Pal, Julia Hanne

Sison, Jana Czarainne

1. Sound Effect – The toy produces a weak ringing sound, indicating a low battery. After recharging, the sound becomes stronger, showing that the battery works properly.

2. Dialogue – A father and son are having a heartfelt conversation. Their exchange conveys care and warmth over a bond of a parent and child.

Sound Design Principles:

1. Pace – Ensures the commercial delivers its message clearly and engagingly within the short 40-second duration.

2. Transition – Smoothly shifts between voiceovers, sound effects, and jingles to maintain flow and listener engagement.

Guide Questions:

1. How did the advertisement effectively communicate the product/service benefits?

   • The advertisement's intention was to emphasize how effectively and long-lasting their product, the Eveready Super Heavy Duty is. The advertisement showed this through a heartfelt narrative between a father and his daughter. The father said that the daughter can borrow the batteries of the flashlight that saves lives, depicting how powerful the Eveready batteries are. Then, the narrative shifted to a commercial voice, explaning that the battery can be used up to 4 years in storage, which is why life runs on Eveready. This shift is an effective way to direct the listeners to the key description of their product. The quality of the audio overall is clear and satisfactory, making the commercial overall effective with advertising.

2. Are sound effects and background music used appropriately and how do they enhance the overall message?

   • Yes, the sound effects and background music are used appropriately as the sounds have a robotic vibes on it which is related to batteries. The background music isn't too loud so the conversation between the father and the child was heard. It enhances the overall message because it helps to maintain the listener's focus to the advertisement.

3. Would the listener remember the product/service after hearing the ad? Why or why not?

   • The listener is likely to remember the Eveready Super Heavy Duty product because of its strong branding, making it easily recognizable. The ad also delivers a clear message, emphasizing the durability and reliability of the batteries. Additionally, repetition of the brand name reinforces recall, ensuring that listeners associate the product with long-lasting power. Most importantly, the use of electric sound effects enhances memorability by creating a sensory connection between the product and its function.

     
     

     
     

1. Dialogue - The Radio Commercial clearly shows the narration of Stephen Curry to guide the audience through different aspects of Christmas captured by the new Vivo phone model. His dialogue introduces sounds, making it clear what each represents like the sound of Christmas, family reunions, and children singing. It serves as the main storytelling element to ensure that the listeners will understand the connection between sound and the holiday season. 

2. Sound Effects - The Radio Commercial incorporates various sound effects to bring the narration to life and to engage the audience in a festive atmosphere. Some sound effects used are bell ringing which sets the Christmas vibes, the laughter which represents the joy in family reunions, and the children singing Christmas carols celebrating this holiday. These sound effects evoke emotions, making the listeners feel the essence of Christmas even without visuals. They also help reinforce the idea that the Vivo V7 and V7 Plus can capture these moments clearly, aligning with the product's key selling point.

Sound Design Principles:

1. Mixing - The radio commercial of Vivo utilized mixing of various sound elements, making the experience of listening to the commercial immersive into the themes of Christmas. This immersion, along with the narration of Stephen Curry, engages the viewer to listen to the commercial and be able to gather ideas regarding the use of Vivo V7 and V7 Plus in recording audio. The commercial's use of mixing was able to improve the advertisement and bring their ideas more clearly and engagingly to the listeners.

2. Pace - Vivo’s radio commercial including a narration by Stephen Curry lasted only 30 seconds, being able to fit various audio elements to engage the listener’s attention and bring ideas and emotions the company wants their target audience to understand and feel. Pacing of the video is evident as there are pauses between scenes and audio cues, specifically, the pauses between narration and scenarios such as the sound of Christmas, family reunions, and children singing. This utilization of pacing in their sound design was able to pack the advertisement into a concise yet engaging audio commercial for listeners to easily understand and pick up the ideas and emotions from the advertisement.

1. How did the advertisement effectively communicate the product/service benefits?

• The advertisement effectively communicated the product’s benefits via audio by using various sound effects that evoke the feeling of happiness and festivity. It specifically mentions Christmas, which is considered to be close to the hearts of many Filipinos. With the scene set by the dialogue and sound effects, hooking the listener, the narrator then says how the product, Vivo V7 and V7 Plus can capture all these happy moments clearly. He mentions the product’s features such as 24 megapixel clear selfie along with an all screen display. These features make it beneficial in capturing memories, which the advertisement focuses on.

2. Are sound effects and background music used appropriately and how do they enhance the overall message?

• Yes, the audio elements were used effectively, enhancing the advertisement’s message by immersing listeners in the sounds of Christmas such as bells ringing, laughter, and children singing. These high-quality and well-produced sound effects enhance Vivo’s message of clearly capturing holiday moments with its camera.

3. Would the listener remember the product/service after hearing the ad? Why or why not?

• The Vivo Christmas radio commercial effectively utilizes the elements of audio media to create an engaging holiday atmosphere and even uses a famous person to make the advertisement more memorable. It opens with the phrase “This is the sound of Christmas” followed by a festive jingle, then transitions to the sounds of family reunions and children singing, immersing listeners in a familiar holiday experience in the Philippines. The reveal that all these moments were recorded using the new Vivo phone ties the product to the season’s warmth. Additionally, Stephen Curry’s narration adds recognition, making the ad more engaging. However, while his voice enhances recall, the ad lacks a distinctive branding hook such as a chant or jingle that could make it truly unforgettable. Instead, it relies on emotional connection and storytelling, making it effective in creating impact but less so in brand retention compared to ads with unique auditory branding elements.

Members

• Angeles, Yeshie Mhay T.

• Bautista, Tristan Jhon S.

• Hipolito, Atasha Mikhail S.

• Hipolito, Rian Gabriel A.

• Sayson, Breana N. 

Flores, Leanne Nicole S.

Gasoc, Zaira Lynne

Isleta, Luriez Jewel

Juat, Leal Isaiah

Nataño, Alexander Matthew

Castañeda, Daniel Bernard

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Encarnacion, Marion Rachel

Rodriguez, Daezel Rachel

GROUP 1 - https://youtu.be/-W7c8fUZN6o?si=esxoT_sQ9BNMuSlt
GROUP 2 - https://youtu.be/IncnLebc854?si=05J1rexJzfGYOGAr
GROUP 3 - https://youtu.be/q05aEY02l4M?si=ieI48lf1Onlu_hra
GROUP 4 - https://youtu.be/okvlmZcErOI?si=Tk52dtlkm093blov
GROUP 5 - https://youtu.be/09I1ueM7hio?si=T-3kjXfgsL8DXYcO
GROUP 6 - https://youtu.be/P9QqgSWZWNg?si=gtlwaMpTxD1ZOTGc

Bataller

Bautista

Francisco

Gillesania

Ramos, S.

Tangzo

Angeles - Scriptwriter and Voice Actor

Bautista, T. - Editor

Hipolito, A. - Scriptwriter and Voice Actor

Hipolito, R. - Scriptwriter and Voice Actor

Sayson - Scriptwriter and Voice Actor

Members:

Castañeda, Daniel Bernard

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Encarnacion, Marion Rachel

Rodriguez, Daezel Rachel

Members:

• Amacio, Carl

• Batac, Cyrus

• De Onon, Juan Miguel

• Ramos, Naomi

• Rentillo, Princess

• Yu, Kichi

1. Speed - In this Jollibee ad, speed is used to enhance the emotional impact of the story. By slowing down the motion during poignant moments, the ad helps the audience connect more deeply with the characters and their emotions.

2. Direction - In the opening scene of the Jollibee ad, the camera zooms in on the view of the city, which is a deliberate use of direction in motion design. The zoom-in direction draws the viewer's focus onto the bustling city, representing the world in which the story takes place

3. Motion Path - This element is used really well in the middle part of the commercial. The jeepney went to the drive thru way of the Jollibee to show that it is lolo's surprise to his grandchild. It shows a change of direction of the jeepney after driving straight on the road.

   
   

MOTION DESIGN PRINCIPLES:

1. Sound and Color - Along with the dramatic lines, the

   background music of the advertisement has the busy road effect as long as a slow, relaxing string instrument tune giving a sense of inspiration and comfort. The colors of the scenes depict the real life sort of vibe with lightings such as the shine of yellow lights as an accent for the scenes, pleasant for the eyes of the audience.

2. Blurring - The story starts with a moving jeepney and how can we tell that it’s moving fast? By the blurring of the background of the actors that are conversing in the scene. The following scenes at the dining table blurred the backgrounds to give emphasis to the actors and the emotions being portrayed.

3. Transitions - This video effectively engages its audience through compelling storytelling, using simple cuts and fades to smoothly transition between scenes and focus changes. Most of the transitions are simple, showing the point of views of the passengers, the grandson, the father, and the 'lolo' driver. There were also transitions in the background music, showing the change of emotion in the whole commercial. The varied camera angles add depth and interest, while the straightforward transitions in the Jollibee commercial emphasize the emotions and acting over flashy effects, creating an authentic and memorable experience for its watcher.

GUIDE QUESTIONS:

1. What types of camera movements and angles are used and how do they affect the scene's impact?

   • Most of the shots used in the film are eye-level shots. At nearly every point, the audience is looking at the characters in the eye, making the emotional commercial even more impactful. There are also a few tracking shots that follow the grandfather throughout the commercial, emphasizing that his importance to the plot. Overall, the camera angles work hand in hand with other elements to create a cohesive film.

     
     

2. How does lighting and sound influence the mood and tone of the film?

   • Using warm lighting to create a nostalgic and heartfelt atmosphere, making the scenes feel comforting and familiar. This warmth reflects the unconditional love Lolo Gusting has for his family, reinforcing the theme of sacrifice. In contrast, moments of natural or dim lighting during his long work hours subtly depict the challenges he faces daily. The sound design plays an equally important role—soft background music complements the emotional tone without overpowering the dialogue, allowing the audience to focus on the character’s journey. The sound of the jeepney engine, street noise, and conversations add realism, immersing viewers in the everyday life of a hardworking driver. These elements together evoke deep emotions, making the story relatable with the audience.

     
     

3. Does the short film effectively engage its audience? What techniques contribute to this?

   • Engaging its audience by focusing on relatable themes—familial love, hard work, and sacrifice, which are deeply ingrained in Filipino culture. The storytelling is simple yet powerful, drawing viewers in with a touching portrayal of an elderly man who continues to work tirelessly for his family. The use of realistic dialogue and natural acting makes the characters believable and easy to connect with. Additionally, the pacing of the narrative, paired with emotional highs and lows, keeps the audience invested. The film also utilizes nostalgia, reminding viewers of their own parents or grandparents, making it even more emotionally compelling. By the end, it leaves a lasting impact, inspiring reflection on the sacrifices made by loved ones.

Group 3 Members:

• Amacio, Carl

• Batac, Cyrus

• De Onon, Juan Miguel

• Ramos, Naomi

• Rentillo, Princess

• Yu, Kichi

Bautista, Tristan Jhon S.

Hipolito, Atasha Mikhail S.

Hipolito, Rian Gabriel A.

Sayson, Breana N.

Flores, Leanne Nicole

Gasoc, Zaira Lynne

Isleta, Luriez Jewel

Juat, Leal Isaiah

Natano, Alexander Matthew

1. Speed - The video shows speed to express emotions. The vehicles move fast, creating urgency, while the main character moves slowly, showing exhaustion from commuting, school, or work. This contrast highlights how busy the environment is compared to his tired state.

2. Direction - The character follows a clear path, walking straight along the road. The way the streets are laid out makes it easy to see where he's going, helping guide the viewer’s focus.

3. Motion Path - The motion path is clear in how the character moves through roads and turns. When he approaches 7-Eleven, he will go since his path leads directly to it. This makes the scene flow naturally and keeps his movement easy to follow.

   
   

MOTION DESIGN PRINCIPLES:

1. Timing - The short film presents a time wherein the transition slowly fades. Therefore, it does not feel rushed. There is also a proper pacing between clips.

2. Overlay - The film shows layers of filters. The studio's name is placed on top of the video so the audience can easily view it.

3. Appeal - The short film presents an appeal as the overall design works together. The filter shows the mood of the real world and Christmas. The story is structured and easy to understand even though there is a small twist at the end.

   
   

GUIDE QUESTIONS:

1. What types of camera movements and angles are used and how do they affect the scene's impact?

   • Tilt: This is the movement of the camera upwards or downwards. The video used this to focus on the characters' faces and movements to provoke wonder about their feelings and personality.

   • Tracking shots: These shots encompass the man in the video as he is walking. This makes the story more interactive to the audience because it immerses them in the scene as if the audience is walking with the man or they embody the man themselves. They also used these shots on other characters to make the audience resonate with the atmosphere that their movements create.

   • Close-up shots: The video used this type of shot to emphasize how tired and gloomy the main character is by shooting his face in a way that covers most of the frame. They also used this to highlight how the little boy's cheerful and bright aura is in contrast with the man.

   • Point of view shot: This is a shot from a character's point of view. It also has the purpose of making the audience immersed in the story through the lens of the man.

   • Two shot: The shot shows the man and the boy, which creates contrast since they show the contrast between youth and adulthood.

   • High-angle shot: The camera looks down mostly at the man, which suggests that he is vulnerable or feeling downcast.

     
     

     These are the significant shots that were shown in the video and these play a significant role in establishing the atmosphere and displaying the mood of the characters.

     
     

2. How does lighting and sound influence the mood and tone of the film?

   • The dark lighting and serious sound make the film feel sad and emotional. The dim lights show the struggles the narrator is going through, while the quiet and heavy sound makes the story feel even more real. The way the narrator speaks, sharing his hardships but also his determination to keep going, adds to the mood. Since Christmas is usually a happy time, the contrast makes his struggles stand out even more. This helps the audience feel his pain but also his strength in holding on.

3. Does the short film effectively engage its audience? What techniques contribute to this?

   • Yes, it effectively engages its audience through several cinematic techniques. The background music, composed of soft piano and guitar melodies, enhances the sentimental and heartwarming feel of the film. The monologue is relatable, allowing viewers to connect emotionally with the story. The scene transitions, accompanied by warm and cozy lighting, create a nostalgic and intimate atmosphere, making the film feel more heartfelt. Additionally, the element of anticipation, particularly in the child's surprised reaction, keeps the audience curious and engaged, preventing the film from becoming predictable or boring.

Members:

Bautista, Sebastian Ray

Bataller, Irish

Francisco, Jasmine Cassandra

Gillesania, Narlia

Ramos, Sabrina

Tangzo, Sophia Eunice

Members:

Agne, Mykel Benedict

Cambi, Marcus Joshua

Dollison, Marco Antonio

Pal, Julia Hanne

Sacristan, Allen Dominic

Sison, Jana Czarainne

Flores, Leanne Nicole

Gasoc, Zaira Lynne

Isleta, Luriez Jewel

Juat, Leal Isaiah

Nataño, Alexander Matthew

Yu, Kichi Chelsy F.

Rentillo, Princess Dominique R.

Batac, Cyrus D.

Amacio, John Carl

Agne, Mykel Benedict

Cambi, Marcus Joshua

Dollison, Marco Antonio

Sacristan, Allen Dominic

Pal, Julia Hanne

Sison, Jana Czarainne

(Uploaded soft copy and hard copy)

1. Speed- Both slow and fast movements were incorporated in the scenes. Slow movements when the wife is doing household chores, indicating that she is tired/weary. However it becomes faster as she her emotions escalate, feelin more alert/paranoid thinking that her abusive husband is home.

2. Timing - It is used to strengthen the message of the story. It is used subjectively as it refers to the psychological abuse the Filipino wife feels. Even though the scenes didn’t really show from day to night— the viewers still felt the impact of the message, as it enhances the storytelling.

3. Direction - It helps with the cinematography of the film. For example, there are times when the character moves in a straight left/right direction, it would go out of the frame and another transition to a different scene will begin. It also helps to create certain POVs with the audience, given that wife is just doing her daily chores but, she is acting like we are there.

Motion Design Principles

1. Timing - The timing of each scene and each cut felt like it was attacking the audience psychologically. The scenes were cut in a way that it didn't feel too long, yet it also didn't feel too short. Each scene was all deliberately planned to give off a certain type of eerie vibe throughout the film. Additionally, at the end of the film the cuts were made so that it gave a sense of anticipation for the audience, despite knowing what will happen, the cuts made it seem more impactful at the end of the events.

2. Transitions - Which brings to the next great point, the transitions to scenes were all creatively delivered. A well-known technique, J and L cuts was executed in this film, where it involves overlapping audio and video from different clips to create a seamless transition. This was used at the start of the film, with the radio. On another note, the film also used sounds such as the door shutting close to transition to a cut of the mop. Making such transitions all connect and relate to eachother to make a coherent film.

3. Color and Direction - The color throughout the film was unsaturated, a muted color, often symbolizing that the setting was a reality. With the muted colors set, almost every time where the protagonist is shown in the scene, she was around a lighter value to emphasize her silhouette and her importance in the film. This directs the audience's attention to her and her actions, while also following the rule of thirds to make the scenes less jarring for the viewers and visually appealing.

Guide Questions

1. The short film utilizes many still shots featuring moving subjects and angles that focus on characters in straight lines. The angles emphasize objects and actions, avoiding extreme high or low shots and instead maintaining eye-level alignment with the main female character. Some shots capture her full body, while others show her half-body or zoom in on the cleaning tools she uses. There aren’t many panning shots; instead, most shots remain still and steady to emphasize the character’s emotions and actions, such as watering the plants, mopping the floor, and hanging wet laundry. This technique creates a unique, eerie atmosphere that keeps viewers on edge, despite the film’s simple portrayal of Filipino culture.

2. In the short film Panima, the use of dull or unsaturated coloring, dim lighting, creates an unsettling atmosphere. Similarly, the tense and scary background music immerses the audience in the female character’s distress. The film also incorporates suitable sound effects and clear audio for the character’s narration, where she describes her daily routine alongside various superstitions, such as avoiding sweeping the floor at night because it is considered unlucky, and believing that shattered glass is a bad omen. The character’s narration initially sounds lively, contrasting with the eerie background music, which heightens the suspense. But later on, when the picture frame shatters, it signals misfortune and also foreshadows the impending violence. This stylistic choice effectively reinforces the film’s message about gender roles—particularly the expectation for women, as wives, to maintain the household—while using superstitions as symbolic reflection. Furthermore, Panima sheds light on domestic violence, portraying men as dominant figures who physically harm their wives, reflecting a harsh reality within Filipino culture.

3. The filmmaker engages the audience by creating an eye-opening message about the harmful effects of an abusive patriarchal household and its impact on an abused partner. Additionally, the filmmaker used jump cuts to create unease through sudden changes in audio volume. This was coupled with rough transitions and steady facial expressions, signifying uncanniness and the protagonist's psychological breakdown.

Members:

Castañeda, Daniel Bernard

Castañeda, Maria Bernalisa

Dijamco, Mauren Cheyenne

Encarnacion, Marion Rachel

Rodriguez, Daezel Rachel