The Switch began with a real problem, not a script.

Instructor of Communications and Student Media Advisor at the University of Evansville, Tommy J Housman wrote and directed the short film as a response to rising utility costs and personal experience. The story centers on a family facing a power shutoff during a critical moment, exploring financial strain, responsibility, and the emotional weight of trying to provide. What began as a reflection of lived reality evolved into something larger; a collaborative film project and a structured experiment in how filmmaking can be taught.

But The Switch is the result of an ongoing effort to build a repeatable model for student-driven filmmaking inside a 16-week semester.

For the past two semesters, Housman has been developing a curriculum in which his video production class creates a complete short film, from concept to final product, within a single academic term. The first attempt was exploratory, described as haphazard and focused on learning the process. The second iteration, The Switch, was more intentional: a step toward building a clear, functional template that future classes can follow.

That structure comes with constraints. Sixteen weeks is a compressed timeline for any film project, requiring students to move through pre-production, production, post-production, and marketing simultaneously while balancing other coursework and commitments. Within that window, the class must also coordinate schedules, assign roles, and produce a finished piece that reflects both technical skill and narrative clarity.

To make the process more manageable, and to test a new creative approach, The Switch was designed as an experiment in minimalism.

The entire film was shot in a single location, in a single room, within a single day.

Students arrived at Housman’s home at approximately 1 p.m. to begin setup. Filming continued until around 10 p.m., totaling roughly nine hours of continuous production. During that time, approximately 25 people moved in and out of the space, including cast, crew, and collaborators. Working alongside John Robertson’s audio class, the team recorded all dialogue, captured visuals, and built the foundation of the film in that single window.

This approach was intentional. Limiting the production to one location and one day reduced complexity while introducing a different challenge: how to maintain visual and emotional engagement within a confined space.

At the same time, the project introduced a second layer of experimentation: improvisation.

Rather than relying on a fully rigid script, the film operated from a structured baseline. The story, characters, and key moments were clearly defined, but actors were encouraged to improvise within those boundaries. Rehearsals focused on understanding relationships and emotional stakes rather than memorizing exact line delivery. The goal was to create a more natural, lived-in dynamic; one that felt less like performance and more like a real family interacting in real time.

That balance between structure and freedom became central to the film’s identity.

Production, however, did not unfold without challenges.

On the day of filming, the air conditioning in the house failed. Originally written to take place in winter, the script had to be adjusted in real time to reflect the actual conditions. The setting shifted from February to June, and the visible heat, both in performance and environment, became part of the film’s reality rather than something to hide.

Equipment limitations also shaped the process. While the team worked with functional gear, issues such as battery life, lack of specialized equipment like gimbals, and general resource constraints created ongoing obstacles. Cameras needed constant recharging, setups required adaptation, and certain shots had to be adjusted or simplified.

These constraints became part of the learning process.

Students were not working within a fully resourced film environment. They were working within real limitations, making decisions in real time, and learning how to adapt under pressure. That experience, balancing creativity with constraint, is central to the educational goal of the project.

At the same time, the collaborative structure extended beyond filming. Students contributed across multiple areas, including cinematography, sound, set design, editing, marketing, podcast production, and behind-the-scenes documentation. The project expanded into a full media ecosystem, with The Switch Podcast, original music composed by Housman, and a complete digital hub housing all related content.

The result is a comprehensive storytelling project.

More importantly, it represents a step toward something sustainable.

The Switch establishes a working model: a 16-week cycle, a structured but flexible production process, and a collaborative framework that allows students to engage in every stage of filmmaking. Future iterations are expected to refine this model further, with clearer role assignments, improved equipment, and more efficient workflows.

Each semester builds on the last.

The goal is progression, developing both the process and the students within it.

The Switch will premiere on May 1 at 7:30 p.m. in the Lutz Lab in Hyde Hall at the University of Evansville as part of the Creative Technology Showcase. Following the screening, the film will be available online via Vimeo and hosted in full at fireside.evansville.edu/the-switch-movie alongside podcasts, music, behind-the-scenes content, and additional materials.

To continue expanding projects like this, support is critical. Contributions to UE Student Media help provide the equipment, resources, and infrastructure needed to sustain and grow student-driven storytelling at this level.

Help UE Student Media build the foundation of what comes next.