Jump to content
Jonathon Sendall

Remote Shooting, Clients, Social Distancing for Crew

Recommended Posts

I thought I might start this convo as we might be affected for quite a while on the various elements in the title I've created. There are some documents flying around on best practices with crew and shooting (I'll try and find them and post them here) but I thought I'd start as I'm about to spend some some money on creating a small studio for remote shooting and creating a better quality post suite.

POST from another thread when it was suggested I start a new post.

"This opens up the idea of remote working which I'm thinking of doing anyway. Part of my business unit can be adapted to doing really good work at table top level but can also shoot head to toe. It's a small studio but doable. I also have an access to a drive in studio only one street away at really good prices. It is large enough to shoot and socially distance at the same time.

I've also thought about pushing my edit suite to a better spec, again so that remote working can be achievable. The colour grading screen I can move to the small studio when shooting colour critical work. Thinking of setting up some kind of video access for clients so they can constantly see set ups etc.

What I wanted to ask was if people are thinking the same thing? Will remote shooting be a new thing for quite a while? Is this a good business move?"

Share this post

Link to post
Share on other sites

Surely remote shooting is only possible for a small handful of things?

I know one of my regular clients (a handful of jobs a year for the last few years) involves filming quick PTCs with celebrities. Usually I either go to their house (because the client doesn't want to inconvenience them) or we book a studio close to where they happen to be working that day anyway, or close to where they live (as it usually only takes two hours of their time). So I'm always doing them in different locations.

How could I do something like that remotely?

There is usually me, autocue op, HMU, and sometimes sound recordist, the client always want to attend as it's a useful opportunity for them to cosy up to the celebrities and thank them for their time. I'm sure they'd want to avoid doing that remotely as much as possible. Sure, they could... but there would still need to be at least three crew in the room, I think... so what difference does an extra one or two (client) make?

I',m trying to think about what sort of shoots could take place with no one in attendance except a camera op/DP who is also directing, with everyone else remote... and I think the list is actually quite small.

Share this post

Link to post
Share on other sites

Here's a few interesting links. First is a webinar about post and production. How useful it's going to be? Who knows.


Protocols for interviews.

Plus I've attached BECTU working document on protocols. Haven't gone though it yet.

Anyway a few to start of with.

As to remote working then having a small studio is a totally different situation than working on location of course. I'm just wondering how much of a smart move it's going to be for me. But here's where technology can help. Remote controling the camera for one, while the interviewee etc is in the room. That's just a small example of what can be thought about.


Safe Working on Film Shoots Under Limited Covid-19 restrictions v4 24Apr20.pdf

Share this post

Link to post
Share on other sites

Also, today, this: https://www.broadcastnow.co.uk/broadcasters/government-confirms-socially-distanced-film-and-tv-production-can-resume/5149754.article

"Film and television production in the UK are permitted to restart providing all involved abide by social distancing guidelines, the Department of Digital, Culture, Media and Sport has confirmed to broadcastnow’s sister site screendaily.com"

"The full Covid-19 Secure guidelines will be published later this week, and productions will have to comply fully with them to be allowed to restart."


Hopefully this doesn't cause a mad rush of people doing things unsafely...

Share this post

Link to post
Share on other sites

Latest BECTU Film & TV Recovery Plan (Safe Return to Work Practices) available now via this link, up to date as of today 15/05/2020:


N.B. BECTU are asking that you only share the link to this web page and not directly to the PDF itself as this is a live, working document that will continue to be regularly updated over the coming weeks. The version control can be seen on the first page of the PDF too.

Alongside this, there is a separate British Film Council (BFC) document that is currently still in consultation and is likely to be referred to the Department for Digital, Culture, Media & Sport on/around 28th May after review by the Health & Safety Executive.

Share this post

Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Popular Topics

  • New Posts

    • An interesting adapter: Zhong Yi Optics Mount Conversion Extender UHD 4K + B4 to M4 / 3 2X EXTENDER
    • I did consider those EVFs, but the resolution put me off. My E-M1 MkII has an LCD with approx 1280 x 800 resolution and when I place my Hoodman loupe over it, the quality isn't much chop; it distorts and doesn't make viewing that great. The Hoodman loupe was 'the' quality loupe of the day. The EVF, on the other hand, is excellent (approx 1820 x 1200) and there are even higher resolution ones about nowadays. At the moment my Blackmagic VA 12G is working quite well (at half power) and with the monitor hood I cobbled up for it, may suffice come summer.
    • And yeah, I’m not sure why I can’t buy something like this but with a power and video input.  It’s tiny and sells for less than $250, so even if it was double the price it’d still be more reasonable than anything out there.   Bonus points if it had a small lemo-type locking connector and you could choose if it had SDI or HDMI on the camera side.  I bet we’d all buy one...
    • I 100% agree.  I generally use a Red 4.7” touch and a SmallHD 702 on my Scarlet-W, and am good with that 90% of the time.  Occasionally I just want an EVF for shoulder work or the rare occasion it’s just so bright that the monitors don’t cut it.  It’s not so much of a need that I'm going to spend $1000 on a huge ass EVF that’s waaay over engineered for my needs.  I want something I can carry with me just in case that is just small and basic for framing and focus.  Something I kinda forget I even have until I need it. I searched and came up empty when I tried to find a true EVF, but the tiny monitor with a loupe thing might work for something not critical.  I’ve used some of Feelworld’s stuff and they pretty much specialize in no frills, cheap gear but is good where it counts, and I found this one on eBay just now.  Might fit the bill at about $350 shipped. https://www.ebay.com/itm/S-350-3-5-3G-SDI-EVF-Electronic-View-Finder-Field-Camera-Monitor-800x480-HDMI/312995662826?hash=item48dffecbea:g:IG4AAOSw9J9eR5TC That one has SDI, which I’ll always prefer, but this one is even cheaper at $246 and is HDMI only: https://www.ebay.com/itm/Feelworld-E-350-3-5-Electronic-Viewfinder-800x480-HDMI-EVF-Field-Camera-Monitor/224144207842?_trkparms=aid%3D555021%26algo%3DPL.SIMRVI%26ao%3D1%26asc%3D225074%26meid%3D7b0865689e2544ef9c14b63a1031d6dd%26pid%3D100752%26rk%3D4%26rkt%3D10%26mehot%3Dpf%26sd%3D233464648892%26itm%3D224144207842%26pmt%3D1%26noa%3D0%26pg%3D2047675%26algv%3DSimplRVIAMLv5WebWithPLRVIOnTopCombiner&_trksid=p2047675.c100752.m1982 If you want to go used but from a bigger brand, the SmallHD DP4 seems to be not too pricey if you can find them:  https://www.ebay.com/itm/Small-HD-DP4-EVF-4-3-Field-Monitor-Viewfinder-One-Product-Two-Devices/233464648892?_trkparms=ispr%3D1&hash=item365b93d4bc:g:Ba4AAOSwPGBeHN6k&amdata=enc%3AAQAFAAACYBaobrjLl8XobRIiIML1V4Imu%2Fn%2BzU5L90Z278x5ickkai8xCwosGKpC0NWj85e%2FB%2F%2BgityPEV4Sz4PqIJahCmf%2Fcuj%2FsuS8%2FpYGyKyD7E0eKFxOwsEuYp86KPRw0X44h81p4ilDxEN3kxaCprp%2FjuighDogpRvijudu3b77Q%2Fc6kUrm%2BEBs%2BMNSb4gjAWpE2AOXyVFblyglyuT7O8Fy2dsSjHCajj21IaCgfrkrVPG7hsSMbcmGbMb%2B1dYVNdQiKW2d0h4kZAF1SGiXclrINSsdJy00aA7Grvx7fjaCeZOb25HDGRE20LlpgPdV5sEXz44etbwZDoyvL4dGyPnsKzBG90bmkHfe4rsuI%2BGZ57Tbha4Z9IZXtNmQt8ecAeuFykolCX9I173qIqZNA7GfsanhIwF76PqEzm%2BNL8RhQNDMKT5mmTVGT2iUjpdiE%2Fe%2BONMGd0Cmt9Kv4Y7dUl3l1pb05vcNyD1psQUxiHZRM4nea2p3Aegkoz6%2F1sctxiipK0G8WMpktNPaSikC6b1KxpDLkXAnUTpZEM36KMDsWSceclGaScD0qkZMkJUV1sCKDp9d8uqjuvfniVpOe4rcT2qMQKOG8bdLBbYxaAMgT71pDQhqU1jG2kKVJ3i%2FFGr%2FBh%2Fu8cUH9qEq6fcxHwyIX385%2B3ZqabSO9wJbqHuESeIqpaUVJtjytBVukc6W2VSokptIye4Pi0nFd37iX39DFBDN893oEgTS446eUJ6XbB6QS85Bpj3qAN7h%2B6A%2FclOww6hkTBeM8SqbLbtcqcLbn%2FPirnldDYqBHOue6Pk2J9Ym|cksum%3A233464648892e75a0c6cb8614186b7102ba8355898cc|ampid%3APL_CLK|clp%3A2334524 I may go with the SDI Feelworld...
    • I went the Google Drive route and have over 110Tb uploaded so far. We have 7 drive users so we have unlimited space.  They don't seem to throttle you after 1000Gb from my experience, although they only allow a single user to upload 750Gb per day. So my work around is logging into multiple accounts on a single machine and just making sure to not upload more than 750Gb per day to each account. The whole cloud route is a bit tedious and slow, so its not our sole backup solution, we still have another physical backup but since were using G-suite regardless we mine as well utilize the free G drive space.
  • Create New...