Production in the age of Corona

In times of great change, relevant messages are more important than ever. We aimed to find a safe way to produce them. We waited until after the curve had begun to flatten to have our shoot, and we operated within the distancing guidelines set forth in the Oregon executive order. As professionals who rely on film production for a living, and in discussion with the Oregon Media Production Association, we determined it was appropriate to begin establishing procedures to do production safely. This way, once the executive order lifts, crews can go back to work. This is an account of our process and the lessons learned as we eye a return to production in the age of coronavirus.

The Way Forward

“How do we film in this environment?” That’s the question everyone was asking. After Executive Producer Chad Parker watched one shoot go from trying to adapt to getting canceled, he began thinking of a solution.

He first called Director and Cinematographer Trevor Fife. He and Chad had collaborated on the Travel Oregon “You Might Like It Here” campaign, a project produced entirely with mobile crews of fewer than 10 people. They agreed this model could offer an answer. 

While they had an approach, there wasn’t a story until advertising agency creatives Matt Firman and Hawley Martin jumped on board. What started as “Travel Oregon but indoors” turned into its own big idea, fleshed out through a creative deck complete with scripts and art direction. With the pieces in place, it was time to figure out how to bring it to life safely. 

The Crew

Concept in hand, we focused on building the team while respecting the rules being asked of all Oregonians. Certain roles would have to be consolidated, and others would be omitted completely.

After much discussion, the team settled on the following crew positions:

• Director/DP

• Producer/Talent

• 1st AC/Playback/Media Wrangler

• Grip/Gaffer

• Location Sound

Pre-Production

We aimed to keep everything close to home and leverage digital tools to limit exposure during pre-production. Using virtual location scouting, we found a cabin 35 miles from our homes in Portland, and we sourced props and wardrobe from our own homes as well. 

Pre-production considerations:

• Location scouting meant browsing Airbnb and reviewing the owner’s pictures.

• Props were sourced from our own homes.

• Talent provided his own wardrobe.

• Meetings, including wardrobe selection, were done via Zoom/Email.

• Crew were secured on the understanding that safety was our highest priority.

• Production would provide all sanitization items on shoot day, including a bottle of hand sanitizer for each crew member.

• Crew would supply their own face masks.

• Crew would supply their own snacks, coffee and lunch.

Shoot Day

Shoot day started with an all crew safety meeting. Items discussed carried through the day:

• Face masks must be worn at all times. (The only exception was for Talent when on screen.)

• No more than three crew members inside the location at a given time.

• When a camera or lighting reset was needed, all other crew would clear the set.

• To avoid contamination, gear could only be handled by department heads.

• All props would be sanitized if a hand-off was required.

• Dual monitors allowed two people to review footage at a safe distance. 

• Our set was an open forum for learning and sharing safety procedures. If anyone saw something that could be improved, they were encouraged to share it during the day.

Post-Production

We opted to cast voiceover talent digitally. In lieu of a physical studio, we directed the VO session via video call. We worked remotely with our editor as well, reviewing cuts, mix and color on digital platforms such as Vimeo and providing feedback to get the edit just right.

What We Learned

Pre- and post-production

Digital platforms move work efficiently.
Communication is contained to the tools available, meaning once a decision is made, the work can move quickly to the next phase. 

Shoot

Production is going to take longer.
With additional safety procedures and physical distancing, it’s important to set a new standard for budgeting time. Larger shoots may require pre-light and set dressing days even on location shoots.

When it comes to crew, agency and client—size matters.
Physical distancing is easier with a smaller footprint. While this slowed our process, having only vital personnel ensured physical distancing and the smallest potential impact on the location and town, while still reaching our creative goals. 

Establish a systematic flow for location.
Similar to grocery stores, having a flow for moving in and out of set is incredibly helpful to ensuring physical distancing and spatial awareness.

A physical shield will free camera and talent.
It can be impossible to keep physical distance for CU and ECU and shots. Clear plexiglass can create a protective barrier to help ensure talent and crew safety.

Establish a Health and Safety position.
It can be easy to forget distance and sanitizing protocol when focused on the job at hand. We made mistakes, and other crews are bound to make them as well. One solution is a dedicated Health and Safety position on set. This person would help ensure procedures are followed at all times, establish sanitization protocols and keep the health of the crew as their top priority. 

Crew Testimonials

“How do we shoot again? It was a simple question with plenty of theories but no real answers. While we couldn’t control what the insurance companies or Guilds would decide, we could explore what a safe onset experience could be. That was the goal of everyone involved in this campaign—to help inform the conversation as we plan for a safe return to filming again.”

-Chad Parker, Executive Producer

“It was an informative experience to see what productions might look like in these unusual times. Obviously the big takeaway was keep it small and make the creative match the capacities of the production. I don’t think you’ll ever be able to operate 100 percent safely, but we did see what was working, what wasn’t and what could be improved. While I don’t see productions being able to adopt a workflow that will all of a sudden clear the way, I do see this as a first step to working efficiently and smartly. Lots of questions to answer to still, but this was a great first step.”

-Trevor Fife, Director & Cinematographer

“Regulating who goes on set will be an increasing burden on the AD department. Camera, G&E, set dec, hair and makeup, wardrobe—many want to be close to the action. Our shoot only had a crew of five with one front door and one back door, and we still had to remind ourselves to distance. And one last thing: brush your teeth. Wearing a mask all day, you’ll only punish yourself if you don’t.”

-Scott Walters, Gaffer / Grip

“In the future, having a Second AC would make the camera department both safer and more efficient, even on a small shoot like this. We had monitor batteries die right before starting a new shot, and doing those changes myself slowed us down. A Second AC would also create more opportunity to remind the First AC and DP/Op to maintain 6 feet of distance and wipe down equipment between changes.” 

-Matt Gromley, Assistant Camera

“In times of fear, a little lightheartedness can go a long way. As people around the world do their part by staying inside, we aimed to remind them they’re not alone. Who better to tell that story than someone who spends his life outside?”

–Hawley Martin, Creative Direction & Writer

“Before, production adapted to creative. Now, creative has to adapt to production limitations. It’s a new and interesting way of approaching the work, but the important lesson is that creative problem solving can overcome any obstacle.”

–Matt Firman, Creative Direction