But even then, some physical equipment can be built at the start and then operated remotely.
Obviously, if something needs to be physically moved, you’re going to need a pair of hands to do it-whether it’s swapping out a bad panel, rearranging the shape of a volume, or moving a camera. Whether a crew member can work remotely or not will depend on the scope of the project and the technology involved.
So going remote could easily save your production money and make your projects more agile in the process. You certainly won’t need to factor in accommodation costs and travel admin. Maybe they can offer smaller blocks of time instead of daily or weekly rates. Perhaps they would previously have charged for transit time and costs, and now they don’t have to hide that in a line item. If things don’t go to plan, you can end up paying for crew to wait around. (And being paid, regardless.) It’s possible, now, for remote workers to give some of their new-found flexibility back to you. Remote working also breaks down the convention that everyone turns up in the morning, and everyone leaves at night, sometimes waiting around on set for the moment they’re needed. Whether your focus is on finding the best talent possible, the least expensive, or just people who are available during your project window, being able to cast your net across a much wider talent pool is more beneficial than strictly hiring locally. The business benefits are also equally compelling. And the world certainly breathed a little easier during the lockdowns, at least in terms of the environment. Those of us who have won that travel time back and now have effective remote working setups at home will be understandably reluctant to relinquish these gains. Increased sensitivity to risk might affect how you insure and add contingency planning to your projects, which might come with a reconsideration and reduction of your headcount on set.īut let’s focus on the positives instead.įrom a human perspective, it’s safe to say that some of us prefer not having to travel or commute to a location, contending with rush hour traffic, or having to drive home after a long day of production. While we’ve largely endured the pandemic, this world-shaking event has made many of us more cautious. There are a few exceptions, like executive stakeholders and producers-not to be confused with line producers who are absolutely needed on set-but when you’re working in a virtual production, it’s worth looking around and asking the question, “Do you really need to be in the room where it happens?” But first, why? Right now, during production you’ll find most of these creatives either on set or somewhere adjacent to it.
As you’d expect, the majority of these are technicians required to set up and operate this new technology, collectively described as the Brain Bar. And the list is largely the same in the world of virtual production, but with a number of new roles added to the roster. Regardless of the scope and scale of a traditional production, the critical roles typically include director, DP, producer, camera operator, actors, gaffer, production designer…it’s a long list. These people are still absolutely necessary for a production to take place- many conventional roles can easily pivot to virtual- they just don’t need to stand together on the set when it happens.
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One of the most significant of these discoveries is that a surprising number of the people you’d typically find on a film or TV set simply don’t need to be there.īut before you take that as a statement that virtual production will make everyone redundant, allow me to clarify. Skills will be sharpened, and new paths will be discovered. Tools will be reworked, refined, or even replaced. Lessons learned from real world experiences will make their way into new workflows. Given that virtual production with LED volumes is still very much in its infancy, rapid changes and adjustments are to be expected-particularly when this new model has had such a profound effect on productions at every level.
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