How lockdown forced a revolution in remote production

The past year has forced us all to change the way we work. In the film industry, lockdowns brought productions to a standstill around the world. The shifting sands forced production companies and filmmakers globally to get creative and find innovative ways to work safely within restrictions.

"The rug was pulled out from under everyone's feet," says Richard da Costa, director of production company Floating Harbour Films in Bristol, England. "In the first few months everyone was kind of shell-shocked."

With international and live events coverage on hold, Richard found himself specialising in virtual events – including working with Wildscreen Festival to produce a week-long virtual wildlife film festival featuring huge names such as director James Cameron, broadcaster Sir David Attenborough and environmental activist Greta Thunberg.

Another filmmaker who faced production challenges was Alan Griswold, director of photography and owner of LA-based production company Monkey Deux, which produces the popular Our Star Wars Stories series for Lucasfilm and Disney.

"One of the biggest things about film production is the sheer number of people involved," says Alan. "The idea that people couldn't be together was a massive shakeup for that industry." For Alan, a remote workaround using Canon EOS R cameras and Canon's EOS Utility software was the key to keeping his series going.

Here, the two filmmakers explain how they kept the cameras rolling, how the filmmaking industry has pivoted and why some forms of remote working might be here to stay.

Has Covid-19 changed video production forever? Hear the conversation in this episode of Canon's Shutter Stories podcast:

Our Star Wars Stories is an original digital series which sees host Jordan Hembrough uncover heartfelt tales of fans who have found inspiration in the galaxy far, far away. It's streamed on the Star Wars website and to 3.5 million YouTube subscribers.

After six weeks testing different methods, he developed filming kits to send out to interviewees – with Canon EOS R bodies at the centre, thanks to their ability to be controlled remotely using Canon EOS Utility, which he'd previously used for tethered stills shooting.

"As we were developing these kits, it became about what would be the most reliable and the highest quality," he explains. "Where the Canon EOS R and EOS Utility ended up winning was that we had the most control over the highest quality camera."

On video calls with interviewees, Alan would build a rig himself, alongside them, so they could see how to put everything together. The EOS R plugged into a laptop, where it could be remote-operated using EOS Utility software and by accessing the interviewees' computers using TeamViewer. Atomos Ninja V recorders were also sent out in the packs, to get the 10-bit colour space from the recording for better quality.

During the interviews themselves, Alan was operating multiple cameras to capture two angles of the interviewees, as well as the host. He describes the process as "completely nerve-racking", but the series was a standout success in its new form.

Richard's filmmaking career began with a Canon EOS 5D Mark II (now succeeded by the Canon EOS 5D Mark IV) in 2008 and has most recently seen his diving documentary Last Breath, filmed with a Canon EOS C300 Mark II, released on Netflix. He typically works around the globe.

"When lockdown first hit, we were stuck here in the studio, trying to figure out how we were going to do anything at all," he says. "What came out of that was a kind of virtual, remote hybrid for the live production we do."

Production managing multiple global feeds and pre-recordings, alongside people live in a studio, was not without its challenges. "With this hybrid presentation, there's a lot of moving parts," says Richard. "You've got a combination of hardware and software, acquisition locally through cameras hardwired into a vision mixer, and then that's going into a software-based vision mixer for the programme."

A memorable challenge arose when Sir David Attenborough said he didn't like seeing the return feed during his pre-recorded conversation with Greta Thunberg, as the slight delay was distracting him.

"With anyone else we'd have done a longer setup and been through that, but we had to say we'd turn it off," laughs Richard. "As a result, Greta can no longer see herself on the return feed, so she starts to get lower and lower in the frame."

So, as it becomes possible to travel again, will everyone return to old ways of working? Or do these creative solutions have applications beyond the pandemic?

"We'll probably continue to do remote work even in Los Angeles," says Alan, who has seen kits similar to his used in Hollywood in the film and television industries. "A lot of people are getting used to the comfort of shooting in their own home, but without having a huge crew there. Even with big studio clients, budget is always an issue, and the ability to send something out is a great tool."

Richard sees this as an opportunity to improve his offerings through new technology. "Let's rethink and go forward in a better way," he says. "I'd really like to push the high-end, doing high-quality remote contributor interviews and documentary content you can be proud of. To achieve things you could achieve face-to-face, remotely, would be a lovely challenge."

Richard recently successfully shot a film about timber construction with 11 remote international interviews. "Going forwards, the question won't be, 'Shall we do it remotely?' It might be, in certain circumstances: 'Why would you do this in person?'"

"What I've learned is that when confronted with catastrophic changes, one of two things will happen – there's a mass extinction or an evolution," says Alan. "The elegance of the solutions was really inspiring in a year of less-than-inspiring events."