FEEDBACK ON YOUR ENTRIES

We don’t give feedback on individual entries because it would be a massive undertaking.
But we ask judges to give one piece of advice about work they don’t score so highly. Some are specific comments, some is general advice for new filmmakers. See if any of this is useful:

FEEDBACK FROM MOTHER’S SHORTLIST JUDGES

  • Watch everything you can get your hands and eyeballs on, then borrow, steal, and pay homage to the elements that move you.

  • Continually ask the question "Why"

  • Make sure that your point is clear and everything is in service of this

  • Think "has it been done before"? If so, "how can I top that?"

  • Tell me a story. But don't tell me something that's completely unengaging. Think differently to what you've already seen because I don't need to see that same film again. I've already seen it!

  • For the Nike piece the quick pans don't allow us to see the product and could have ben slowed down. For the AI piece I'd love them to focus on making the product (strawberries) look very photo real. Appetite appeal is everything.

  • Throughout the process, I would suggest trying to tell the story by describing each shot, scene. During the storyboard phase, the pre-pro, and even after the rough cut edit. This can help the director/filmmaker learn how to tell a story and identify when they want or need to rely on something to help communicate something to the viewer.

  • While so many of these films had beautiful visuals and interesting concepts, some of them lacked a clear narrative thread.

  • Focus on story by first deciding what you want the audience to feel or take away from the film. Once you’re clear on that, you can shape the narrative with intention, making it sharper, more compelling, and ultimately a stronger film regardless of budget or equipment.

  • Longer a story is doesn't mean it's better Refine your idea until becomes a diamond

  • Watch more films!!!

  • Take a bigger risk! Try making something you have never seen before... ever !

  • Focus on one clear, simple idea and keep it as short and succinct as possible.

  • Before you start - what is more important to you? The story or the emotion it evokes? Sometimes one might be sacrificed for the other so make sure your motives are clear. 

  • Dont EVER hold back on the narrative

  • Keep emotion at the centre - remember what you want the viewer to FEEL, and stay true to that throughout your narrative. 

  • On the New Balance film, I thought the idea and concept was there, but for a "sponsored" piece or what could be an ad, it would help to hold on the product a bit more instead of making a "flashy/cool" edit. I wouldn't have known what the film was for without the name in the title. The written piece on the website was super interesting/captivating and I wish I'd noticed it more. I think I would've if the edit wasn't so fast and eye grabbing. For a piece like this, holding on moments and shots to let the VO/message lead would've been really nice and made the film stand out way more than it did. 

  • Always think of your viewer and what you want them to think/feel/do from watching your film.

  • I think story! The best thing about being able to create before you move on to this side of the tree is making sure you've got your idea and story planned out. I felt like everything started strong then ended very poorly - apart from BGMI/ Bike life I thought that was consistent from start to finish

FEEDBACK FROM UNCOMMON’S SHORTLIST JUDGES

  • What's the audience takeaway? 

    • In the creative development stage, even before pre production you need to work out what you want your audience to feel and what response you want from them. All the way through the production process, question if you're achieving this in a way that is clear and concise within a single viewing.

    • The ambition could be anything

      • Buy this product / service - e.g. Is it clear why they would want to how to do it? 

      • Educational - e.g. Rethink your perspective and act differently? 

      • Emotionally Positive - e.g. Positive brand association 

      • Emotionally Negative - e.g. Spread the word and make change? 

      • Thought provoking - e.g. Take action? 

  • Think about how you want people to feel when they watch your film. Pick one word that sums it up. List its synonyms, then narrow it down until you’ve got the one that feels right. Let that word guide every creative decision, from script to edit. It’ll help keep your vision clear.

  • Always keep your audience in mind, you're making it for them, not yourself.

  • With documentaries you want to have a hook straight away

  • Hook is important, what is happening in the first 5 seconds to drag me in?

  • Focus on developing a singular, clearly defined idea, rather than trying to do too much at once or creating something that simply looks like the kind of work you’re inspired by or hope to make. Understand your parameters and limitations, and create work that thrives within them — rather than trying to force something in spite of them. 

  • Just keep making

  • Nothing to advise! I am in awe of passionate new talent who have the skill to enter their work.

  • Don't be scared to break convention 

  • Alternate the shot length, don't be afraid to hold on shots for more than 2" 

  • Understanding the difference between technical expertise and the ability to tell a good story, either visually or narratively. 

  • The story should be at the heart of the film, everything else comes next. 

  • Focus on the story/journey - it has to build and keep you interested - and the pay off has to be worth it! 

  • Story, always and forever

  • Film more B-roll for cutaways, especially if you are shooting in just one location. 

  • Ensure all aspects of film craft meet quality standards - poor audio or confusing screen direction can be enough to pull the viewer out of an otherwise engaging story.

  • Don't let bad lighting or poor sound ruin a great effort at storytelling. Find the resources you need to make sure that you support both sides. It doesn't mean you need to throw money at a project to succeed, but you should take care to give both areas the attention they require.

  • Don’t forget the importance of sound. It’s 50% of the ad, ensuring a good mix and balance can be key! 

  • Lean into your own unique point of view. Trust your instincts. What excites you? What obsesses you? Focus on that! When you commit to your own perspective, the work becomes more confident, more original.

  • In a world where we're all vying for attention, it's not always about being the loudest. Sometimes, a well-placed whisper — a moment of stillness, a unique perspective, a personal truth — can be the most compelling. By honing in on what makes your viewpoint unique, emerging filmmakers can craft pieces that not only capture attention but also leave a lasting impression.

  • What separates you from everyone else you know?

    With thanks to: Abroad Films: Attila Horvath; After Party: Ben Doyle; Arts & Sciences: Megan Leigh Wright; Coffee & TV: Kim French; Covert: Simon Dewey; Creative Outpost: Danny Etherington; DOMA: Amanda Marie-Rose; Double Dice Films: Philip Sharp; Factory: Emily Thomas; gusto: Phil Medway; Harbor: Kelly Broad; Iris: Fraser Lawson; Arts & Sciences: Elise Jeanrenaud; Creative Outpost: Caroline McNulty; Creative Outpost: Charlotte Whittall; Uncovered: Annie Brooks; Nomad: James Norris; Pretty Bird: Tom Manaton; Zebedee: Sue Moore; Knucklehead: Edd Campbell Bird; Kode: Dan Mallerman; Loud Parade: Rahmon Agbaje; No. 8: Chris Kiser; Nomad: Donna Head; Nomad: Jamie O'Donnell; Pavilion Works: Morgan Faverty; UWG: Harold Tamara; Caviar: Mia Powell; LS Productions: Karen Andre; Uncommon: Simone Maggi; Selected Works: Jonathan ‘Wes’ Westley; Canada: Tanya Ramsurrun; Girl & Bear: Maxine Bicknell; Uncovered: Jordan M Paterson; JW Collective: Claudia Lee; ETC: Ben Honour; Barkely OKRP: Jacob Vogt; Tinderflint Eliot Carroll; Saatchi: Jodie Sibson; Barkely OKRP: Laurie Gustafson; RSA: Job Betrand; Spindle: Mayling Wong