14.5: Student Exercises
- Page ID
- 392057
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)For these exercises, focus on your emotional regulation, interview presence, production leadership, and managing uncertainty in the field and edit room. Below are several production exercises to reinforce professional set behavior.
Holding the Room
Goal: Practice maintaining calm leadership during production.
Instructions:
In groups of three, students simulate a short documentary interview setup. Assign roles:
- Director
- Interview subject
- Observer
The subject should purposefully introduce a minor disruption during the interview, such as long pauses, emotional reactions, confusion, or disagreement. The director must continue the interview without apologizing, rushing, or showing frustration.
The observer records moments where the director:
- Stayed calm
- Lost focus
- Talked too much
- Helped the subject feel comfortable
After the exercise, rotate roles.
Discussion Questions:
- When did the director seem most in control?
- What behaviors helped the subject relax?
- What made the situation feel tense?
Chaos Footage, Calm Edit
Goal: Learn to stay balanced when footage feels disorganized.
Instructions:
Students receive a folder of unscripted, loosely related footage (or use their own unused clips).
They must create a 60-90 second sequence that communicates a clear idea, even if the footage feels incomplete.
The No-Apology Screening
Goal: Build confidence and emotional control when sharing work. Professional filmmakers let the work speak before defending it.
Instructions:
Students present a rough cut to the class. Before the screening, they are not allowed to apologize, explain weaknesses, or warn the audience.
They may only say:
"This is only a rough cut. I'm looking for feedback on clarity and engagement."
After the screening, review these points:
- What did you want to apologize for?
- Did the audience react differently than you expected?
- How did staying calm change the discussion?
Emotional Attunement Interview
Goal: Practice staying calm when subjects become emotional. Calm creates trust on camera.
Instructions:
Pairs conduct a 5-minute interview about a meaningful personal experience.
The interviewer must:
- Maintain steady tone
- Avoid interrupting
- Avoid reacting dramatically
- Allow silence
Afterward, the subject reports:
- When they felt comfortable
- When they felt rushed
- When they felt listened to
Director Under Pressure
Goal: Practice regulating yourself while solving problems. The director’s emotional state affects the entire set.
Instructions:
During a short shooting exercise, the instructor introduces unexpected problems:
Examples:
- Battery dies
- Subject arrives late
- Location noise
- Missing tripod
- Actor forgets lines
The director must continue without showing panic.
Afterward, students write:
- What did you feel internally?
- What did you show externally?
- Did your behavior affect the crew?
Balance Before Meaning
Goal: Understand that calm thinking leads to better story decisions.
Instructions:
Students review their own documentary footage and answer:
- What do I think the film is about right now?
- What am I afraid the film is about?
- What footage surprises me?
- What would happen if I stopped trying to control the meaning?
Then build a new sequence based solely on curiosity, not on a thesis.
Staying Calm When the Story Isn’t Clear
Documentary filmmakers often feel pressure to understand their story too early. This exercise helps you practice staying calm when meaning has not yet emerged — a normal and necessary part of the documentary process.
Instructions:
Review the footage you have already shot for a current or past project. Do not edit yet. Watch the material straight through and write short answers to the following:
- What do I think the film is about right now?
- What parts feel confusing or disconnected?
- What moments feel interesting even if I don’t know why?
- What am I worried the film is missing?
Now, create a 30-60 second sequence using only footage that interests you, not footage that proves your idea.
Rules:
- Do not add narration
- Do not add text explaining the story
- Do not try to make a complete film
- Focus on rhythm, tone, and feeling
After screening, reflect in writing:
- When did I feel the urge to force meaning?
- When did the footage start to suggest its own direction?
- Did staying calm help me notice something new