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Alicia East

inclement weather - Crew Connection
  • Alicia East

Four Tips to Protect Your Gear
Four Tips to Protect Your Gear 5184 3456 Alicia East

As a result of COVID-19, many crews are moving shoots outside as much as possible. While it’s demonstrably safer than indoor shoots for the time being, it also brings a whole new set of variables onto your shoot.

As we enter fall and winter it’s just going to be more challenging as we face more inclement weather. Whether you’ve got “Little bitty stingin’ rain” or “big ol’ fat rain,” the movies will have you believe everything is better in the rain. The kisses are more passionate, the redemption, more sweet, and the sadness, more palatable. Whether it’s rain you made yourself out of sprinklers or actual rain from the sky, it can be difficult to film in.

Four tips for shooting in inclement weather

1. Protect your equipment

You can buy rain bags–umbrellas designed to clip to your gear–or make a DIY rain bag for your equipment. You’ll also need to protect your mics and cables. The most comprehensive solution is a custom cover that allows you to access the controls, point the lens out from under the hood, and still see through the viewfinder. Some cover just the camera, while others cover camera and operator. In addition covering your camera and gear, you could also invest in water-resistant equipment. Don’t get too comfortable though. It’s not waterproof. 

2.  Pay attention to lighting

There are whole classes just on lighting in the rain, but here’s a really important fact: if you don’t do it well, it doesn’t look sexy or redemptive. A poorly-lit scene in inclement weather will take viewers out of the scene. It just looks sad. And not the life-affirming kind of tender ache you might be going for. Two basic keys are not to shoot in the sun and to backlight the rain. If you must shoot on a sunny day, you can take a page out of Inception’s book and block it.

3. Plan, plan, plan

In addition to having all your gear ready, conduct light studies with the camera you’ll use plus several positions at different times of day and record the results so you can find out exactly when “magic hour” is most magical. These are the only times of day that you can be sure there will be no direct sunlight. That way, you know when to show up. You’ll also need to be highly in tune with the forecast and build in extra time for delays and additional setup/teardown time. Even if the forecast is clear, be ready to provide a backup dry place for your cast, crew, and equipment.

4. Make it rain

If you need to make it rain, you can do it on a low budget or you can bring in the heavy duty equipment. There are rain rigs which allow you to control the distribution and flow and rain trucks which cost a fortune but look incredibly authentic. You can also give your scene that “just rained” look with a wet down. That’s a fancy name for hosing off the surface and calling it good. 

Rain isn’t the only inclement weather to plan for. Winter is coming and will bring with it snow and fog. If it’s on your mind, too, these tips for shooting in snow can save your equipment and your shot.  

Looking to add some work to your pipeline? Apply to be a Crew Connection crew and get matched with high-quality clients and guaranteed Net 30.

  • Alicia East

Net Now: The policy that saves you money
Net Now: The policy that saves you money 150 150 Alicia East

For small businesses, cash flow is king, queen, and the American dream. While big businesses’ budgets tend to be a little more forgiving, small businesses and contractors have much less room to handle delayed payments or unexpected expenses. That was in the best of times. And then came COVID-19. The entire world simultaneously shut down work, including projects in process, and started delaying bills.

As we all work out the challenges of working remotely, many are shifting more toward hiring contractors. Treat them right and it’s a win/win.

When you pay contractors quickly, they’re more likely to answer your calls and ramp up your projects quickly. For busy department heads with big projects and short turnaround times, there’s nothing better than diving right in with tried and true creative partners. Saving time, money, and hassle by working with people who just get what you’re looking for is priceless.

Pay contractors quickly or risk losing them

Internal processes, red tape, and backlogged accounting departments make it hard to get checks in the mail. We definitely understand. Unfortunately, your corporate freelance payment policy might prevent you from working with the best people. Top contractors get booked quickly. Paying them later than your competition can get you blacklisted or moved to the bottom of their long to-do list.

Put yourself in their shoes. Freelancers are single-handedly juggling creative work, billing, marketing, and more. That means the person who sees your invoice in their red column is the same one you’re expecting to bring their all to your next project. What seems like a small invoice to a big company can have a major effect on a small business’ cash flow. Net 90 is a common practice for large companies. But even though a lot of people do it, that doesn’t justify the shady practice.

Hire someone with systems in place

Paying contractors quickly is worth the investment. If it’s not feasible to transform your internal process, get a partner involved. You get the peace of mind of knowing that you’ll always be in good standing with contractors. With PayReel, you also get the bonus of pre-vetted workers who are always available at a moment’s notice.

Hiring contractors is a beautiful thing: It gives you a fresh perspective and talent without having to bring on full-time team members. Just make sure you do it right. Going from Net 90 to Net Now will save you time, keep you in good standing with contractors, and ensure you can feel good about the way you do business. Rather than trying to save Benjamins up front, take Benjamin Franklin’s advice and “Wrong none by doing injuries, or omitting the benefits that are your duty.”

  • Alicia East

COVID proof your video business with this one skill
COVID proof your video business with this one skill 400 267 Alicia East

Has this pandemic handed your business a giant, caterpillar-infested lemon? Tell me if you relate:

  1. Jobs have been on the decline since the pandemic and while things are finally picking up,  you’re nowhere near your previous workload. ✅
  2. You provided a creative solution for your client(s) when the pandemic forced you to cancel a project midstream. ✅
  3. You stress ate your quarantine rations week two and all you have left is a can of beets and a Domino’s gift card with $4.67 on it. ✅

Okay. Us, too. So now what? If you’ve recommended some creative ways to repurpose existing footage, you’re in good company. This Nike spot uses archival footage, voiceover, and top-notch copy to tell the story. Are you ready to go a little further? Time to flex your creative muscles with some animation skills, Creatives! 

This one skill you can add to your profile during this slow time and you’ll never want for work. And it’s easier to get started than you think. Quite likely harder to become an expert than you think, too. 🤷🏻‍♀️ I talked to Shawna Schultz of Mass FX Media–the motion design and animation lab based in Denver–about how production houses can help clients meet their goals in light of the COVID-19 limitations.    

Adjusting to new realities with current clients

Schultz has had plenty of clients approach her production house with their COVID-19 challenges. Many had live-action concepts they simply won’t be able to accomplish under current conditions. Specializing in animation has made the pivot much easier to stomach and Schultz has been able to offer solutions that don’t require an indefinite delay.

For example, Schultz and the team created a graphics package for The Unreasonable Impact COVID-19 Response Global Summit created with Barclays. The event would’ve been live without COVID, but the graphics package upped the production value of the virtual summit by allowing a polished opening, transitions between speakers, and even a fallback to cut to in case of technical glitches. 

Entry-level animation skills to get you rolling 

Motion capture and creating new characters may be the glamorous side of animation, but simple is good, too. Iconography, typography, and adding motion to stills are entry-level ways to bring words and images to life. I never would’ve thought seeing a Conan O’Brien monologue with typography animation alone would be more engaging than watching the man himself. 

Schultz said getting comfortable with your pen tool and clone tool in Photoshop can help you create the parallax effect in your editing software–another way to add visual interest to photos. 

You can likely get started with the software you already have. Adobe Premiere, After Effects and Animate, have helped drop the barriers to entry so you can delve into the basics without an overly burdensome learning curve. 

Tools and training for when you’re ready to add a whole new piece to your business pie

Schultz and the team have put together this comprehensive list of resources to get you started with minimal investment. Many are free!  

You can become proficient enough to add new depth to your projects or, if you like it enough, you can keep learning and become an expert. 

There’s plenty to explore before getting into motion capture and creating complete characters. No matter how far you take it, you will find uses for everything you learn.  

Bottom line

Sometimes when you’re boxed into a corner, your pivot causes you to create something even better than you thought possible. When life hands you lemons, animate them. 

Crew Connection helps video professionals connect with clients. Put all your skills to use with us by applying to be listed on our online database of highly-vetted crews. 

Shawna Schultz is president and executive producer of Mass FX Media, a motion design lab serving brands and documentary filmmakers animation and visual effects to enhance their stories.

 

  • Alicia East

Video crews need someone in their corner
Video crews need someone in their corner 150 150 Alicia East

“If there’s magic in boxing, it’s the magic of fighting battles beyond endurance, beyond cracked ribs, ruptured kidneys, and detached retinas. It’s the magic of risking everything for a dream nobody sees but you.”

Eddie Scrap-Iron Dupris, Million Dollar Baby

Video crews have to be fighters. There’s no coasting. There’s no relying on someone else to pick up the slack if you have an off day. It’s just you—pounding the pavement with a load of gear on your back, facing off against competitors, keeping up to date on ever-changing technology and now, ensuring everyone’s safety with COVID-era safety measures, too.

It’s not enough to be a pro behind the camera. You also have to be an expert in marketing, finance, and interpersonal communications. Often, you just have to put your dukes up and act as your own advocate. It’s a lot to manage. That’s when it’s nice to have someone in your corner.

The best partner video crews can have

How much time would you free up if you could skip prospecting and fill your pipeline with desirable jobs? High-quality clients who understand the business realities of video production are hard to come by. Those who pay quickly are even harder. Time is money and clients and crews alike save both when they work with Crew Connection.

When you’re busy with work, the last thing you want to do is hound someone over an aging invoice. Crew Connection streamlines communication, cuts the red tape, and sends net 90 packing. Our crews are paid within 30 days—guaranteed.

COVID-19

This pandemic put production on hold for many video crews. Formerly busy production houses have had to adjust to the changing circumstances—by getting creative on existing projects, shifting their offerings, and adding safety measures. Running any business is hard and the pandemic just made it infinitely harder.

In boxing, you may be the one out there in the ring throwing punches, but there’s always someone in your corner. Now more than ever, video crews need partners to advocate for them. With a profile on Crew Connection, you get your very own marketing expert, sales rep, and accountant in your corner. And that’s worth a million dollars, baby!

  • Alicia East

How to make educational videos people want to watch
How to make educational videos people want to watch 400 300 Alicia East

No matter what their specialties were pre-pandemic, experienced video crews may see more opportunity to produce educational videos as we see schools, conferences, and other trainings and events shift more and more online. Be prepared to see more of your work shifting there, too. 

We’ve all had to suffer through our share of dry, stale educational videos. That means there’s a real opportunity to transform such pieces—to generate enthusiasm instead of eye rolls. 

We interviewed A. Troy Thomas, President and Owner of Inertia Films, about the special knack to produce something that does more than just convey the information. 

How to create educational videos that keeps viewers genuinely engaged, smiling, and clicking for more

What information do you need from clients in order to be most successful?

A. Troy Thomas: While we always need to get an idea of the technical details—the look, feel, style, platform, etc.—what we really need to be effective is to truly understand the audience and what makes them tick. That’s the first rule of effective communication.

We also want to know more about the person or company producing the video—how long they’ve been in business, what their culture is like, and what kind of project they want to produce. Beyond just the topic, we want to know what clients want to accomplish on a deeper level.   

What makes an educational video something people want to watch?

ATT: People like watching videos that present information in a new, uncommon way. Most want videos with creativity, color, relatability, music, and humor. Humor is big! As long as it’s appropriate for the content, making people laugh is a surefire way to engage them. 

What do you do when you know a client’s vision will bore the viewer?

ATT: We offer other options to creatively draw the viewer in but still get across the client’s ultimate message. The material is their world, but they don’t always know how to relay it. You have to go beyond the “what” with educational videos and get into why the audience should care. If they seem resistant to our suggestions, we sometimes provide examples of other videos with messaging similar to what the client has suggested and talk through what works or doesn’t work about that video. Giving them an example to start from makes it easier for them to start looking at how their own message comes across.   

What are some of the qualities of an engaging educational video? 

ATT: A video has to start with the basics of solid content, visual presentation, and creativity. Beyond that, it has to be relevant to the target audience.

Today’s audiences are used to fast-moving content. Use this knowledge to your advantage by incorporating appealing graphics, hiring dynamic presenters, and breaking up content into bite-sized chunks. 

Audiences want something creative and out of the ordinary. Make sure any critically important or unexpected information comes across clearly, but also respect people’s intelligence and think of fun, lighthearted ways to present content that people would generally take for granted anyway. 

Clients and editors must work in tandem to determine what designs and visuals will be most engaging. 

What’s the most common mistake that leads to a boring educational video? 

ATT: Simply providing the information in a standard, sanitized format is a surefire way to lose your audience. Even though the goal is to relay information, there’s a way to do it that makes audiences want to watch. 

The bottom line

Trying to produce a video that keeps audiences from falling asleep? It behooves you to go beyond pointing a camera at a talking head. Educational videos can be both informative and fun to watch. Crack that nut and you’ll never want for work.

A version of this post originally appeared on ProductionHub here. Conversation edited for brevity and clarity.

About Inertia Films, Atlanta, GA

A. Troy Thomas founded Inertia Films on a dining room table in Cincinnati, Ohio in 1993. Thomas moved headquarters to Atlanta, Georgia to leverage the post-Olympic boom in 1996 and then went on to add its first digital, post-production suite to facilitate in-house projects in 1999. From there, the company moved into a new production facility near downtown Atlanta. It includes two HD post-production suites, production offices, live shot capabilities, and a studio with Cyc wall. This award-winning company uses state of the art equipment on every shoot and continues to thrive in the film industry.  

About Crew Connection

Crew Connection puts experienced video crews and editors at your fingertips. In just a few clicks you can search, chat with, and book vetted crews local to your shoot—all on your own schedule. Sign up to find or become a crew on CrewConnection.com or call us at 303-526-4900.

  • Alicia East

Choosing the right camera lenses
Choosing the right camera lenses 2560 2560 Alicia East

Whether it’s framing as a storytelling device, the marvels of the latest gear, or the wonderful world of lenses, video professionals all have our areas we can geek out about. For Patrick O’Donnell of Eye to Eye Video, it’s the latter. His love affair with lenses started as a kid staring at catalogs and has now led him to a successful career as a tourist with better toys.

Here’s the 20-year veteran’s take on what lenses to use for what situations, what to buy versus rent, what mistakes to avoid, and how to be successful in the industry.

Alicia East: How did you get into this industry? 

Patrick O’Donnell: I had always wanted to be a still photographer growing up. I used to stare at photos in magazines with amazement and I knew that that’s what I wanted to do with my life— make amazing images. I also used to stare at photography catalogs and dream of owning all the lenses on the list. Some of them were $10,000 dollars! I wanted to know what it was like to put a lens that cost that much money on the front of my camera. My parents weren’t very supportive at first. They told me “A still Photographer? That’s not a real job!” They had very defined ideas about what jobs were. My mom was a teacher and my dad is a police officer.

“Still photographer” must have sounded really outside the box to them at the time.  But for some reason, they let me study Mass Communications and Radio at Towson University. I guess they listened to the radio and that made sense to them as a good career choice. They must not have realized then that images were everywhere in every medium and they didn’t equate that someone had to take those photos and got paid to do it. So I ended up taking Film 101 in between my radio classes at Towson with Professor Greg Faller and quickly found my passion. I was officially out of radio and into moving imagery. In high school I had taken a lot of photo classes, but it wasn’t until I took Greg’s class in college that I actually understood cameras and lenses and their importance to storytelling. Taking 24 pictures every second to compose a story, I was in love. I had such high regard for the power of a single image and still do, but this just fit, and telling stories with lenses quickly became my life.

AE: What lens do you use for which situations? Why?

PO: Every choice with a lens should be to serve the story. I shoot a lot of interviews and then shoot the subjects doing what they do. I really like wide angle lenses and if the locations are interesting I’ll use wide angle lenses to show them off. To get a close up I’ll move a wide lens in closer to the subject, always being careful not to distort them, and by doing this I can make a shot feel more intimate while also showing off a bit more of the environment behind them. This approach can make the subject’s world feel bigger and the lens is physically closer to them and that helps with the psychology of feeling closer to the subject, because you physically are via the lens. And it’s also important if the environment helps to serve their story.  20mm or 24mm are my favorites for interviews lately.

Of course it’s not always possible or appropriate to put a camera closer to the subject, and 50mm and 85mm are the standard portrait lenses for a reason. They are always the most flattering photographically to faces and they offer a greater separation from the background and can really help to isolate someone in their environment and give them enough room to let their story unfold.

AE: What are your go-to lens? Why? 

PO: My main lenses right now the Sigma 18-35mm and the 50-100mm, both are T2 cine versions. I treat them like variable primes. The flexibility to zoom in or out a little and still have a nice wide aperture has made for a perfect combination for me. Clients and subjects don’t always want to wait for a lens change, and more and more speed is required on set and it’s dictating lens choices. I find the Sigmas to be very sharp and fast, yet still economical.

I also use the Canon C-NE 18-80mm with a cine servo a lot. It’s slower at a T4, but offers great affordability and flexibility. When there isn’t time for a lens change and capturing coverage is more important than shot creation, it can cover just about anything quickly while still having great color rendition and sharpness. And for when the camera is on my shoulder all day, it’s light and fatigue is less of an issue. The Canon 17-120mm is a superior choice and I love it, but fatigue is a real factor during long days with it. Even with an Easy Rig, it’s a lot of weight. It weighs more than twice as much as the 18-80mm—not to mention that it’s four times the cost. After 20 years of holding a camera on my shoulder, my back now gets a say in the lens choice.

AE: What lenses are must haves even if you don’t use them often? Why? 

PO: As a documentary cinematographer, you need to be able to capture whatever is necessary to tell the story at any given time. This means a little bit of everything needs to be in your lens kit. No one can afford to have every special lens on hand at any time, but you’ve got to have enough to get by for when the surprise shot pops up from a producer or client, and they will all the time. Must-have focal lengths are everything from 16mm up to at least 200mm, and I believe in zooms. And then there are some specialties that can really help. A macro isn’t must have, but can really bring a lot to the table. Another is a super long telephoto. The Sigma 60-600mm has saved the day for me here and there when in need of a shot of a subject 200” away at a podium. You can’t always just move in for a close up.

AE: When do you rent and when do you buy? Why?

PO: Anything you use daily you should own, and you should buy the best you can afford and make money with while not sending yourself into debt. I learned early on when I was looking at the lenses in those photo catalogs as a kid that they are an addiction.  They are all so different and necessary that you’ll quickly want them all. It’s funny that those still photography lenses I was looking at back then are now available for and widely used on modern video cameras, but they lack some of the finer cine accommodations like a smooth iris or accurate focus markings. Even without those things, they can look great. Cine lenses usually are lot more expensive than still lenses and some cine lenses can cost over 100K! So I rent when a project calls for something special or when there is room in the budget. My Sigmas are great and I truly love them, but when the client is expecting more and is willing to put more budget into a project, I’ll go for it. I often consult with the production and show them why the story would be better with a certain rental choice. Sometimes the lenses need to be bigger, smaller, faster, longer, wider, or match a look that was previously shot. You can’t own them all… at least that’s what my bank tells me!

I recommend renting any lens before a major purchase and this will assure that you get exactly what you’re looking for and exactly what you need to get your stories completed.

AE: Have you ever regretted a lens purchase? Why? 

PO: I did have a regretful purchase. It was a used lens I had previously tried and I bought it from a guy on a web forum. It seemed to check out initially, but after some real world use I noticed that it was not 100% and it had a back focus/alignment problem. The seller denied any problems and also denied a refund. I had to send the lens in for a repair and it ended up costing just as much as it would have if I had bought it new at the end of the day.  Buying used is a great way to save some money, but you have to be careful. Be thorough and always buy from a reputable dealer or seller. Too good to be true is usually too good to be true. The bum lens is fine now, but the level of trouble was not worth the negligible savings and hassle.

AE: What is tops on your wish list? Why? 

PO: I want them all! But realistically I’ve got my eye on the new Angenieux EZ lenses. My primary camera has been and still is a super 35mm Sony PMW-F5, but I see the Sony PXW-FX9 in my near future and the main feature for me is its full frame sensor. Full frame hadn’t been a consideration when I first bought the Sigmas, which only cover super 35, but the world is changing to a bigger sensor and bigger is better, right?

The EZ line is made up of fast cine zoom lenses that cover a full-frame sensor and can also be outfitted with a zoom controller. The full frame combo of the two lenses cover 22-60mm and 45-135mm, which is a very similar focal length to my Sigma’s in S35.  It’s also a combo of focal lengths that I’m used to and comfortable with. Full frame means new lenses, and everyone likes new lenses, right? Well, everyone except my financial planner.

AE: Lenses have come a long way through the years. What do you think is next? 

PO: Autofocus could be a real game changer. I shoot a lot of very long interviews and most of the time I’m at a very large aperture to create a very shallow depth of field. This can sometimes make the task of keeping a mellow subject in focus very tedious, but a subject that moves a lot or is very animated can force you to stop down and change the bokeh of the shot to ensure that they remain in focus. For as long as I’ve been shooting, my advice to anyone about cameras was to turn off all the automatic controls. This may be over, because both Sony and Canon now have very professional and usable autofocus systems. Sony’s new system in the FX9 is called dual hybrid and utilizes both phase and contrast detection with stunning results. I’ll be following closely to learn which lenses have the best compatibility and dependability. I think autofocus could even bump the Angenieux EZs off the top of my wish list. I sense some lens testing coming.

AE: What advice do you have for people just getting into the business?  

PO: I have three pieces of advice to anyone just entering this industry:

Make yourself available if someone calls. The key to getting your foot in the door is entering the door when it opens.

Be on time. This is the most basic and best thing you can do. Production shouldn’t have to wait for you ever and not showing up on time is highly disrespectful and shows a lack of professionalism. In this industry you will need to build a good reputation and reliability and dependability should be your top priorities.

Listen to your instincts and be passionate about your work. I knew early on that I wanted to make images and I stuck with the path even though it seemed crazy to my folks. I made it work and even turned it into a great career. They can now see that I made a good choice for myself and that I have found this career path to be highly rewarding, engaging, and enlightening. I basically get to be a tourist, just with a much bigger camera, and I find myself getting access to people, events, and places that few get to see and experience firsthand. If you go down this path, throw yourself into it and enjoy the moments you get to capture and It’ll show on the screen. The gear is important, but the most important part of it all is a clear vision and a good dose of passion.

Once you build your arsenal of lenses, put them to good use with Crew Connection’s high-quality clients.

Note: Conversation edited for clarity and brevity. This article first appeared on ProductionHub here. 

About Patrick O’Donnell:

O’Donnell is Director of Photography at Eye to Eye Video based in the Washington DC area specializing in corporate, broadcast, and documentary video. O’Donnell has 20 years experience and is still learning new things every day. He works mainly in small crews of 2-4 people with him, audio, grip, and gaffer. He focuses mainly on feature stories and high-end interviews for Fortune 500 companies, major networks, and documentaries. Check out his demo reel for what all those awesome lenses can do.

  • Alicia East

Setting yourself up as an independent contractor
Setting yourself up as an independent contractor 2560 1707 Alicia East

If you’re ready to take the leap into working for yourself, you can save some hassle down the line by setting your business up the right way from the beginning. First things first: If you’re confused about whether you are/want to be an independent contractor or a gig worker, we define the difference here. If you’re sure it’s the independent contractor world you want to explore it’s a simple process if you know the steps. 

How Set Yourself Up as an Independent Contractor 

STEP ONE: Get set up

Choose a name and decide on the best form of business ownership (e.g. LLC, S-Corp, C-Corp, etc.) for your situation. This will impact many things including taxes and your personal liability. For more info, visit
www.sba.gov/business-guide. Most states have unique license and permit requirements for business registration. This information is readily available online by searching “register a business in <your state>.”

No matter where you do business, you need to apply for a federal Employer Identification Number (EIN) here. 

STEP TWO: Protect yourself

Protect yourself and your business with insurance. Talk to your agent about General Liability and Workers’ Comp. General Liability protects you against claims for personal injury, property damage, associated legal fees, etc. Worker’s Comp pays for you and your employees’ medical expenses if they’re injured while working. Even if you don’t have employees, many companies require vendors to carry this coverage.

STEP THREE: Set up banking 

It will make your life eleventy billion times easier if you keep your business and personal finances separate. Set up your bank account and get any credit cards you need in your company name. 

STEP FOUR: Market yourself 

A great way to market your business is through a nice looking, informative website. You can hire someone to customize it or your can build your own. Visit www.godaddy.com for more information. 

STEP FIVE: Equip your business 

Independent contractors typically don’t use their clients’ equipment. You may already own everything you need. If not, consider leasing your equipment. 

STEP SIX: Manage your business 

Develop an Independent Contractor Agreement. Your larger clients will most likely require you to sign their own such document, but it never hurts to have your own. Either way, this is an important document. Click here to order a state-specific agreement, or do an online search for “independent contractor agreement example.”  Next, set-up an accounting system for invoicing and receivables tracking. Many independent contractors use Quickbooks or another DIY software to pay yourself and pay your self-employment taxes. You can also hire an accountant to do it for you. 

STEP SEVEN: Do something great

You did it. You’re in business. Now you can get busy contributing to the world in the ways only you can. Visit Crew Connection to see how we can help you fill your pipeline with high-quality work. 

  • Alicia East

Lights, camera, face masks: Video production during COVID-19
Lights, camera, face masks: Video production during COVID-19 600 450 Alicia East

Video people are some of the most resourceful on the planet. They can make a tripod out of a water bottle, block daylight with blankets and gaff tape, and simulate a rolling dolly shot with a shopping cart. Plus, they already carry a sherpa-load of gear, so adding a few sanitizing wipes and face masks to their essential gear list is no big deal. 

While we haven’t faced a challenge quite like a global pandemic before, every single crew knows what it’s like to make adjustments on the fly. We are no strangers to curveballs. The show, as they say, must go on. 

Production practices our Crew Connection video crews are adopting in the COVID-19 landscape

Limiting people on set

Much of production has to happen in person, but reducing the number is doable. For example, Yuki Uemura has producers ask questions remotely either by phone or teleprompter. The latter is especially helpful because it gives the talent a person to look at. 

Despite major advancements in the quality of footage, we’ve spent years fighting the battle to convince people that they can’t simply point their iPhone at something and get the quality they want. Still, a client’s self-filmed interview filmed on a phone can protect a lot of people. If a client goes this route, provide them with basic tips (film horizontally in a well-lit location, stabilize the camera on a surface at eye level, etc.) to ensure you get something you won’t mind putting your name on. Similarly, for b-roll, you can produce/direct remotely.

There’s a level of production that DIYers aren’t going to create with their cameras at home, but even primetime shows are scaling back production. Viewers understand and you can still deliver videos you feel proud of. Think of it as the acoustic version of your favorite song.

A cost/return analysis changes when the cost could be someone’s health.

Safety on set

For those who have to be on set, we can still cover the basics such as wearing face masks and gloves (except while being filmed), having plenty of hand sanitizer, taking scheduled hand-washing/equipment-sanitizing breaks, social distancing whenever possible, having individual catering boxes, etc. Most states, including Georgia, have compiled a list of best practices. Whenever possible, shooting outdoors while social distancing is an excellent option.

Equipment

It’s hard to beat a lav mic’s quality, but right now, switching to a boom is preferable. If you must use a lav mic, be sure to sanitize it well between use.

Much of the equipment that makes virtual production and/or social distancing easier on-set is in short supply at the moment. For example, we heard from Allen Rosen that a Black Magic piece “that will allow me to do Zoom, YouTube, or Facebook live from one of our field cameras” has been back-ordered for a month. He also reported that small, remotely-controlled webcams are hard to get right now. Apparently, gear that enhances distance filming is the toilet paper of our industry. 

Post-production

The fancy editing suites are nice, but damn, you can do a lot on a laptop. The fact that post-production lends itself well to working from home is one of the biggest blessings of our industry during the COVID-19 era. If “The Last Dance” can shift from their fancy-pants editing facilities to at-home production, you probably can, too. 

We’ll likely be turning to post-production even more than usual to simulate crowd shots or otherwise solve problems creatively. 

Larger productions 

This article talks about two larger-scale productions that moved forward with extra measures in places. “Katla” crew members wore color-coded armbands that dictated where they were allowed to be on set.

While instant testing would be even more helpful, the “Katla” team found daily temperature checks effective. The article noted, “Two crew members who went to the set with elevated temperatures wound up testing positive for Covid-19. They were both sent home to self-isolate for two weeks, and no one else became infected.”

What about the cost? 

The extras—from gloves and masks to individual catering and of course, new equipment—are going to mean some additional costs, but if the alternative is to halt everything or to wait indefinitely, those costs are justifiable.  

The crew (plus their families and a dog) of a Stephen King adaptation (also described in the above article) self-isolated in a remote farm town for the entire production. According to the producer, “The extra precautions added at least 20% to the initial $10 million budget,” but also made “this whole thing possible.” 

The cost to the environment is painful, too. Just as sustainability on set was starting to get some traction, productions have shifted to single-use makeup, individual boxed lunches, disposable masks/gloves, and more. Sorry, Mother Earth. 

Bottom Line

There is no roadmap for this, but we will get through it. And like everything these days, we’ll find some silver linings along the way. The best practices from the CDC as well as those specifically for video production provide more of a compass. Use that compass as your guide and adjust. Whether it’s figuring out how to balance homeschooling while working from home or making a DIY dolly, we know how to adapt. We’re creatives: It’s what we do! 

Find a crew following COVID-19-era best practices here. Crew Connection is standing by to help.

Pictured: Movie Mogul Productions on a PopSockets brand shoot.

  • Alicia East

10 ideas for Memorial Day Weekend
10 ideas for Memorial Day Weekend 2560 1745 Alicia East

Memorial Day Weekends of old boasted barbecues, parades, and oodles of red, white, and beer. The holiday recognizes those who have fought in the armed forces while also unofficially kicking off summer. This year is bound to look a little different even as restrictions ease up. Large gatherings, parades, and public fireworks displays are canceled. But you know what can’t be canceled? Kindness. The outdoors. Watermelon. We’ve got all that and more in our list of suggestions for how to celebrate and connect in a different way this year.

10 ideas to put a social-distancing spin on your summer kickoff

  1. Host a watch party with yourselves as the stars: You picked your friends for their shared sense of humor and values. Now’s the time to create entertainment only you and yours can fully understand. Use all your stupid inside jokes and shared experiences to create a mockumentary (like this one for the theater crowd), a commercial for a fictional product, or a music video. Decide ahead of time what the prize will be and how the results will be judged. Everyone should be encouraged to participate: Don’t let production value weigh too heavily in the judging. To get extra fancy and provide a space for all the snark you’d expect from your tribe, host a watch party. If you’d rather not create your own entertainment, conduct a poll and pick a favorite flick to watch “together.” Bonus if you make it 80s themed and add a costume party to the mix!
  2. Have a virtual experience: Everyone from The Bash to AirBnB is offering experiences you can take part in online. If ever there was a time to learn to do magic or cook Spanish tapas, it’s now! You’ve probably had a lot of hot dogs and watermelon in your life. Why not mix it up and go Greek for one of the most patriotic holidays around?
  3. Learn the history: I know I can’t be the only one who has celebrated a holiday without having any real idea why it exists, right? Whether you just want to find out for yourself or you want to turn it into a lesson for your kids, brush up on your Memorial Day trivia.
  4. Host a virtual game night: Incorporate all your new knowledge into a trivia night or coordinate your outfits (a must) for a round of Family Feud or Pictionary. You could also play some improv games like the one where you make up a story by taking turns adding one word or sentence at a time. This one is extra fun because kids can participate (likely with hilarious results) too. However you choose to virtually gather your tribe, have everyone throw in for a cash prize or something silly. I remember a long-expired jar of homemade pickles that made its way through white elephant gift exchanges for decades in my parents’ group of friends. Every year, it showed back up. I can still the seedy green slop now. You never know what beloved traditions could come out of this time.
  5. Virtual bake-off: In one of the most wholesome side effects of stay-at-home orders, people are suddenly baking all the things. Selfies in exotic locations have been replaced by bubbly sourdough starter in jars and glamour shots of crusty, drool-worthy loaves of baked perfection. Honor this new pastime with a doughnut or cake-making contest (if you can find some flour, that is) where everyone sends in a picture of the final product. Assign the judges (the younger the better) ahead of time and let all participants watch the judges’ live critique. Take the feel-good factor up a notch by having a $5 buy-in where the winners get to pick a charity to donate to. Thanks Krisi Olivero of Live. Laugh. Film. for this idea and for donating the winnings from your bake-off to Frontline Foods (a Colorado charity that donates meals to healthcare workers)!
  6. Take a vacation from electronics: I wouldn’t have thought it possible, but I do think we are leaning on technology now more than ever. After all of those virtual gatherings, spend a little time electronics-free. We’re all attached to our devices at the wrist, so it will be a worthwhile challenge. Go for a long walk. Grow something. Have a distraction-free conversation. Even if you think you have nothing left to talk about with those people you’ve been around 24/7 for the last 2.5 months, step into it. Sit with the discomfort of not having something to reach for and see what kind of magic comes from it.
  7. Take a road trip: There’s a weird phenomenon that happens the longer I live somewhere. Colorado was my home for most of my life, but when I was packing up to move, I mourned all of the many attractions that were always a drive away and on my “someday” list. Somehow the longer I live somewhere, the less likely I am to get out and see it. Because life. But with life as we know it on hold and the current state of air travel, now is the perfect time for a weekend road trip to some outdoor attraction where you can still practice social distancing.
  8. Teach your kids (even the littles!) to make their own breakfast: I’ll be tackling this challenge this weekend with my 4-year-old at the helm, her little brother in tow, and the newborn in a carrier. And then, with a little luck, I will move on to one of my most prized holiday weekend activities: a nap.
  9. Make the food anyway! Of course, like so many holidays, food takes center stage at most Memorial Day celebrations. Take advantage of cooking for a smaller crowd! Instead of lining up a bunch of generic patties on the grill, up the ante with some extra special burgers: think homemade sauces and caramelized toppings. There are some stellar vegetarian options, too! And what’s Memorial Day without watermelon? There’s something for everyone—from the vegans to the meat lovers—at this Memorial-Day-themed Food and Wine page. Wash your hands a lot while you cook and then deliver some baked goods to a neighbor. Bonus if they’ve served in the military!
  10. Share a thank you card or video: Along the same lines, take a little time to thank someone who has served in the armed forces—whether they’re close to you or just an acquaintance. Some people are really suffering during this time and the little acts of gratitude can do a lot for recipients as well as givers.

Bottom line

I’ve heard from a lot of friends that they’re getting back to some of the simple pleasures of life—sitting down to a meal as a family, dance parties in their PJs, and growing something under the warm summer sun. Get outside, eat some food, and enjoy your family or the quarancrew of your choosing. You may find yourself a little slower to jump in on “business as usual” even when the opportunity comes back around. From our Crew Connection team, where you can find the best video crews – take time to enjoy the long vacation!

  • Alicia East

4 alternatives to kids’ screen time while sheltering in place
4 alternatives to kids’ screen time while sheltering in place 610 345 Alicia East

Pre shelter-in-place, I was one of the irritatingly-principled parents who seriously limited screen time to special occasions like a quarterly family movie night. Admittedly, I also found it useful here and there when I noticed smoke from an overcooked bird cascading out of the oven or it felt like the whole house was going to crumble into a heap around me as a result of the sheer volume inside it. In this new reality, as a working parent with 3 littles (all 4 and under), I feel the constant temptation to put the older two in front of a screen so I can get a little time in front of mine. I am very grateful for the various sizes of square babysitters I can turn to at any moment. 🤷🏻‍♀️

It’s not all about me though. I want my kids to become fully-functioning human beings with the capacity to do something productive with their boredom, energy, and creativity. Also, I’m fairly confident they’ll still benefit from knowing how to read in our new reality.

3 WAYS TO MAKE THE DAYS A LITTLE MORE ORDERLY, HAPPY, AND PRODUCTIVE—FOR KIDS AND PARENTS ALIKE

  1. Make a plan the night before. My husband and I used to have a nightly routine of packing lunches and bags for the following day. We’ve replaced that with planning activities and deciding which blocks of time we will each cover with kids or work, respectively. We never follow the plan exactly, but it sure does help to have a guideline. Since our daughter is learning letters, we start the day by spelling out a word (our theme for the day) with magnetic letters. The younger one identifies the color of the magnets. I have noticed the kids are actually happier when we have a structure (even if it’s a loose one) instead of letting the day just run itself.
  2. Cook together: We enjoy this Kids Cook Real Food program to support cooking together in the kitchen. Yes, you can just wing it, but I have found the structure of this very helpful since my kids are small and need to be guided carefully rather than just set loose with a knife. It also provides guidance for working with multiple age/skill levels at one time so you can be in the kitchen with toddlers (no joke!) all the way up to older kids. I love that it gives them some independence in the kitchen and motivates them to be participants rather than just recipients at mealtime.
  3. Garden: As we mentioned last week, gardening is having a moment. Between sparse grocery store shelves and more time at home, people are growing food for food’s sake as well as for therapeutic reasons. Why not get the kids involved? Of course they love to water the plants, but you can take it further with activities they will learn from, too. This online resource is geared specifically toward kids.
  4. Water day: Each of the above requires your full attention. A water day, on the other hand, is a great option because a) kids love it; b) some water activities are independent enough that you might be able to catch up on some communication or just get a moment to think; and c) it sets them up for a very long nap. And nap times are more valuable than gold right now.

BOTTOM LINE

I realize that every person’s situation is different. Some are still working the front lines or don’t have a partner to share the load. And some will have to let the screen be the babysitter just to be able to keep feeding the babies. Whatever your situation is, I hope you’ll be patient with yourself and those around you.

As long and trying as this time seems, we will never get it back. Yesterday, my son woke up from his nap and said, “I need some snuggling.” It was a rare moment with just the middle child while the other two were sleeping. I had things to do, sure. I always do. But I left my phone in the other room and sat with him. I told my restless legs–which threatened to carry me away–to be still. I told myself: This 2-year-old in your arms is not an obstacle to all you have to do: Being with him is all you have to do in this moment. So I was. And sure enough, a short time later, he was wriggling out of my arms and on to the next thing. I’m just glad I wasn’t the first one to move on. During this shelter in place, I am determined to look back and know that I did what I could to provide shelter (haven, security, love) for those in my care.

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