13.7: Student Exercises
- Page ID
- 381985
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Exercises for shooting coverage
- Coverage Sequence Drill: shoot a simple everyday action (making coffee, tying shoes) in a complete wide-medium-close sequence.
- Inductive Coverage Exercise: film at a location with no plan, then shape an edit around the coverage.
- Interview + Coverage Exercise: pair an interview with supporting visuals, edit to see where coverage succeeds or fails.
- Sound-Driven Coverage: record a soundscape, then capture visuals that could accompany it.
Possible Exercise Design
- Arrival & Immersion: Students spend 15–20 minutes in a location without cameras—just observing, listening, and taking notes.
- First Capture: They then shoot whatever draws their attention—textures, motions, faces (with consent), spaces, transitions, atmospheres.
- Reflection Notes: Write a short journal entry: What surprised you? What did you notice only once you slowed down?
- Class Share: Screen the footage. Discuss: What themes emerge? Did different students notice the same things or entirely different aspects?
- Follow-up Exercise (Deductive Contrast): Later in the semester, assign the same location but with a storyboarded shot list so they can directly compare deductive vs. inductive outcomes.
Other Ideas to Layer In
- Shot Type Constraint: Limit them to, say, only close-ups, or only static shots, or only sound-driven visuals. Constraints sharpen observation.
- Theme Discovery: After shooting, ask students to propose a unifying “theme” their footage could serve (e.g., “transitions,” “loneliness,” “the machinery of daily life”).
- Collaborative Montage: Pool the footage from the entire class and co-edit a short piece. This shows how inductive material can gain coherence in post-production.
- Compare with Sound-Only: Have them first record ambient audio, then revisit the space to shoot b-roll informed by what they heard.
McGuffin Exercises
- In small groups (3-4 students), pick a hypothetical doc subject
(Examples: a local graffiti artist, a beekeeper, a political activist, a high school robotics team) - Invent or identify a McGuffin adventure
- An upcoming gallery show
- A beekeeping competition
- A protest rally
- A robotics contest
3. List 3 character traits or motivations the adventure will reveal
(E.g. perfectionism, community values, need for validation)
4. Describe 3 types of footage or scenes you would capture to expose those traits
(E.g. late-night prep sessions, family interviews, moments of failure)
5. Share with class (2 min per group)
Optional Homework:
Watch a doc (or doc short) and identify its McGuffin.
Prepare a 1-paragraph analysis on how the filmmaker uses it to reveal deeper character motivations.