This is the first post in a series about filming amongst the coronavirus pandemic and the changes in our industry. New posts will be published daily for the rest of this week.
After the World Health Organization announced the coronavirus pandemic, like most of my peers in the United States’ film industry, I received a bevy of cancellation notices from jobs that had been solidly booked. Suddenly, within a few days, I went from a full calendar several weeks out to having nothing in the pipeline for, well, ever? It sure felt like it, at least.
Those early days in March were both illuminating and scary. As more information came out, it was clear that this wasn’t going to be the two-week “staycation” indicated to us early on. It seemed like every 24-hours brought more devastating news of the virus’ impact and even lower expectations of when work would resume.
Eventually, after a solid three months of no work, a few opportunities came to dip my toes back into production, albeit in a brave new world. While others have shared my luck, I know many more are still biding their time at home – either because of your market, continued stay-at-home orders, or your justified hesitations to re-enter the workforce.
It goes without saying: filmmaking in a coronavirus world isn’t what you’re used to. So, I wanted to share my experience, hesitations, and advice for those who want to know what it’s like to pull focus and prep cameras in the midst of a worldwide pandemic. After working four separate commercials spanning three prep days and six working days, here’s what I’ve learned…
Wear a Mask or We Don’t Get to Work
Let’s get this out of the way: wear a mask.
Seriously, just wear a f@*!ing mask.
If that’s a dealbreaker for you, then use these turbulent times as a clean break to go into another industry. Simply put: when working as close together as we in the film industry do, the science, the studies, and common sense all dictate that it is not only our ethical obligation to wear a mask, but that it is tremendously beneficial for the safety and health of you and your fellow crew to do so.
Wearing a mask is the single most important action we can take to make sets safer. And I am thankful that something as simple, affordable, and easy-to-find as a mask is able to give me the protection needed to get back to doing the job I love to do safely.
Even if you don’t want to wear a mask, all four shoots I worked on required them to be worn at all times (excluding lunch breaks) and all three states within my local market have some sort of mask mandate. Even without a mandate, I hope productions will follow mask-wearing guidelines from the Centers for Disease Control, World Health Organization, and even our own trade unions. If I was approached for a job without a mask requirement (against the advice of science), I would not do it.
Yes they can be frustrating to wear and there are times where they may make our jobs slightly more difficult. But as someone who’s worked several 12+ hour days wearing one, including in near 100° F temps with high humidity, the worst thing that happened was the bridge of my nose got a little sore.
As we confront the reality that COVID-19 is here-to-stay in the near-term, we must accept wearing masks to protect ourselves, our communities, and our livelihoods as filmmakers.
We Are in Uncharted Territory
Everyone is discovering the best way to work right now that’s safe, efficient, and familiar, but none of those efforts are manifesting the exact same. I’ve already read debriefs or spoken to others who have had different methods, protocols, and experiences on their shoots.
I’d wager that any Marvel shows going into production will look drastically different than what I’ve been working on due to their size, scope, and budget; likewise, a small documentary crew is going to be agile and nimble in ways those big shows can’t be.
So, I want to be clear: these are my own experiences. As mentioned, I worked four jobs: an internal corporate shoot, a national commercial, a regional commercial, and a political endorsement ad. All non-union. Crew sizes ranged from 5 – 30 people and each lasted between 1 – 3 shooting days.
I’ve already learned some valuable lessons which have informed how I’ll be working in this pandemic and which jobs I’m willing to accept, but just because my experience was good or bad, safe or unsafe, easy or hard – that doesn’t mean that’s how every shoot is going to be.
So it’d be great for those of you who have also returned to work to share your experiences in the comments that way we can have a broader idea of what our industry is doing.
No matter the budget or type of a shoot, it’s important to realize we’re going to be better equipped as an industry and a community if we’re willing to share with each other what works and what doesn’t. At the end of the day, we’re all converting light into moving images – how we do it is the interesting part. So here’s an overview of the productions I helped guide through that process…
First Take: Suited Up in the Vaccine Lab
Production Type: Corporate / Industrial
Crew Size: ~ 20 people
At the end of May after a months-long dry spell, my very first job back was at a vaccine laboratory of all places. The producer texted me: “It’s pretty much one of the safest places you can be right now.”
He went on to explain there would be mandatory mask-wearing, hand sanitizing, less-than 10 people in a room at once, and disinfecting of gear. He also explained I would have to sign a waiver accepting the risks of coronavirus infection when entering the laboratory which was actively developing a vaccine for COVID-19, among other diseases such as Ebola.
Discussing what safety protocols are in place is now a normal part of the conversation when being hired. If it’s not brought up in your initial contact with production, you should address it as soon as possible and be ready to say “no” to producers who aren’t able to answer your questions or don’t have any protocols in place.
I trusted this producer, but before accepting, I discussed it with my wife; after all, any risk of personal exposure to coronavirus is also a risk for your entire household. That’s going to be an important consideration moving forward as we decide what jobs we are and aren’t comfortable accepting.
On the day, we spent the morning filming in one of their laboratories full of fancy test equipment, vials, pipettes, and refrigerators. While in the lab, the entire crew – already masked when unloading into the building – were asked to wear new high-quality surgical masks and safety glasses provided by the laboratory to ensure cleanliness. Gloves were optional, but we were encouraged not to touch anything – mostly because everything in the lab was expensive.
(I’m used to working with expensive gear like cameras and lenses, but this was one of the few times I felt the stuff I was told not to touch was actually more expensive than the gear I was already handling.)
After lunch, we filmed in their manufacturing area accessible only by airlock. We had to deposit all of our gear (carts, stands, etc.) into a holding room; enter a locker room to get dressed into Tyvek suits with new masks, new safety glasses, booties, and gloves; go through an airlock; and then receive our gear from the other side of the holding room where it had been disinfected by employees.
I provide so much context only because it was hard to judge what going back to work would be like based on this one shoot that, in a pre-COVID world, would’ve still had us suit up head-to-toe in Personal Protective Equipment (PPE). I admit, the presence of such heavy PPE (even if normal in its context) provided some relief for the anxiety I had about returning to work for the first time in months.
Overall, the day went smoothly. I didn’t get to dust-off my focus pulling skills as the director of photography (DP) pulled his own focus while operating, but we wrapped on time and got all the shots on the storyboards, so what’s to complain about?
Afterward, of course I worried that I was infected and didn’t know it. Thankfully, that wasn’t true.
Take Two: Bigger Crew, Smaller Locations
Production Type: Commercial (National)
Crew Size: ~ 30 people
Locations: Interior House, Interior Daycare
The second shoot spanned three shooting days over three locations with a bigger crew, but I was only available for the first and last days at a house in the suburbs and a children’s daycare.
Although my second shoot back, it felt more like a true test for what pandemic work would be like compared to the vaccine lab. With a decent sized crew all working together in smaller, interior locations, it was a test of how diligently crew would follow safety guidelines and how forcefully production would enforce them. Since our director, client, and agency would all be off-site, it was also a test of how effective remote monitoring is and whether it would hinder our ability to “make our day.”
Also, this was my first camera prep in which I could observe how the local rental house was handling COVID-19. I was eager to know what steps they were taking to ensure the gear being rented was sanitary and that transmission risks remained low during the prep itself.
The rental house, thankfully, was on top of it. As a good friend of mine, I trusted the manager to do things properly, but it was still comforting to see him disinfecting returned gear, making hand sanitizer available at each prep station, and being respectful of physical distancing.
The two shoot days I was on we filmed animals and children – lucky me! Nothing like waiting months to get your hands back on the follow focus only to be dealt the task of keeping turtles and toddlers sharp. Did I mention we were using a large format camera in the Alexa Mini LF? And the animals would be filmed in extreme close-ups with diopters? And no rehearsals with the children? No worries!
Honestly, I barely had time to worry about my depth-of-field because I was so caught up in the logistics of staying safe from coronavirus. Being around a larger crew certainly increases risks and anxieties as it’s easier to bump into somebody accidentally and harder to space out appropriately.
It seems like you always learn the most after being thrown into the fire and that’s what happened here. I absorbed many lessons about what obstacles productions are facing in implementing their safety protocols, what I personally can do to make up for those shortcomings, and also the difficulties of working with a director who’s monitoring a camera feed from across the country.
(I go into detail on some of these lessons learned below, but keep checking back here throughout this week for more posts that really dive into specifics.)
Production did many things right, but there were moments at the end of the day where it seemed the possibility of overtime superseded the threat of coronavirus. It was in those moments I felt I had to watch out for myself. If you have to wait for talent to step out to change a lens, then wait. If you have to move your monitor to pull focus from because video village is living up to its name, then do so.
Don’t be afraid to protect your own safety even if they’re cracking the whip behind you.
In the end, while production sometimes stumbled, generally, the shoot went well. The client was happy and the ads – some already airing now – look really good!
And, as far as I know, nobody from the shoot has tested positive.
Take Three: Smaller Crew, Bigger Locations
Production Type: Commercial (Regional)
Crew Size: ~ 15 people
Locations: Interior Clubhouse, Various Exteriors
Of all the shoots, this one went the smoothest. The crew was somewhere between 10 – 20 people and the producer took several extra steps that made the sets safer than some of the other shoots.
It also helped that over half our shots were exteriors. While it was hot with our masks on, having enough space to physically distance properly provided a lot of relief for our anxieties.
For our interior locations, some of the actual shooting spaces were cramped, but the buildings themselves were large enough to enable each department to spread out their gear and personnel so that the set remained open to those who actually needed to perform work.
Honestly, there’s not much else to say. In spite of all the extra safety measures, it almost felt… normal? Driving home, it was the first time since returning to work that I was not genuinely worried that I had contracted coronavirus and, if I had, it would’ve been a stroke of unfortunate luck rather than negligence.
Thankfully, once again, nobody I am aware of tested positive.
Take Four: Skeleton Crew in a Park
(No photos of this one because our talent was high-profile, so my phone stayed tucked away.)
Production Type: Political PSA / Endorsement
Crew Size: 6 crew + 3 staffers + 1 politician
Locations: Exterior Park in City
This job came a full month after the wrap of the gig above and it was a nice one to come along. While the Movi prep the day before was challenging (are they ever straightforward?), the shoot lasted less than 4 hours because of our limited time with the talent: a U.S. congressional representative.
We showed up two hours before the talent’s arrival time to a public park in Washington, D.C., blocked the camera move, rehearsed the one-shot PSA for timing, and then waited for talent to arrive. Once our politician landed, we spent a half-hour doing 7 – 8 takes of the 30-second spot.
After we got that one shot in the can, we wrapped out and went home.
Interestingly, this production paid an extra $100 kit fee to cover costs of supplying my own food (craft services, breakfast, and lunch) as well as my own mask, disinfectant, and necessary PPE. Which, in some cases, may not be a great deal – especially if you don’t have PPE and have trouble sourcing it. It could also be interpreted as abdication of production’s responsibility for coronavirus liabilities.
There’s a valid point to be made there.
However, pre-COVID, I was already in the habit of bringing my own food to smaller sets because they often don’t offer the best options for meals. And, post-COVID, I’ve been bringing my own PPE anyway in case production doesn’t bring enough or provides less-than-ideal supplies.
Ultimately, the producer still arrived with limited snacks, some water, extra masks, and hand sanitizer. And with a short shoot day, I was home by lunchtime, so this turned out to be a moneymaker.
So, Did You Feel Safe?
For the most part, yes, but at times, no, and never completely.
It really was a mixed-bag. Like everything that coronavirus has needled its disruptive tendrils into, there is a tremendous amount of anxiety with just doing something you haven’t done since before the pandemic, during a pandemic – especially at the tail-end of months-long self-isolation.
The first time I entered a grocery store post-lockdown, after weeks of having avoided it, was eerie. I was anxious. I was extremely diligent in my sanitization practices to the point of overkill. However, the next time I went, it wasn’t as scary because I had “survived” it before. My sanitization practices were still diligent, but they were more appropriate.
The more you do something, the more confidence you gain from having done it. So, the first job was certainly more nerve-wracking than the following ones. Eventually I became more comfortable with how to maneuver myself and my department to be safer. Even then, however, there was constant, simmering anxiety; usually relieved by a spurt of hand sanitizer and deep breaths. On a COVID shoot, the anxieties never truly dissipate: they co-exist alongside our normal pressures and responsibilities.
What made me feel the most safe was familiarity with the people I was working alongside. The set I was most stressed on was the one with the largest amount of crew whom I had not worked with before. In times like these, the ability to trust someone is even more important as you are, quite literally, putting your life in their hands. You are trusting that they don’t lie on their symptom screening form, that they’ll wear their mask properly, and that they will respect physical distancing.
It was also encouraging to see hand sanitizer everywhere, mask wearing, and availability of optional PPE like face-shields or gloves. All four shoots implemented the following safety protocols:
- Pre-screening forms filled out and submitted before each shoot day
- Hand sanitizer available easily and freely
- Mandatory masks with the option to bring your own or wear ones supplied by production
- Face-shields available for those at extra high risk or who wished to have extra protection (such as Hair & Make-up or the camera operator when working close to unmasked talent)
- Individual boxed lunches or personal take-out orders from local restaurants
Of course, the devil is in the details and the execution.
There were times where masks slipped under noses or physical distancing became impractical: those were moments that I never felt entirely comfortable. I talk more about this in tomorrow’s post, but enforcement of guidelines (or lack thereof) is an enormous factor influencing feelings of safety.
But generally speaking? I felt safer than I expected to. It’s no surprise that the level of compliance and, again, enforcement of protocols primarily correlated with my feelings of coronavirus-related stress.
What Has Changed About Set Life?
Around the globe, and in many industries, there’s a paradigm shift taking place post-COVID. Mostly, our jobs will stay the same, but there are areas where change has necessarily been implemented quickly for safety. And these are just some of the changes I’ve seen or experienced. There are undoubtedly more to come or already happening on other sets. From simple differences such as no self-serve craft services to bigger changes like working with a director over FaceTime, there isn’t any one department that will walk onto a film set in these times and work without adjustments.
Physical Distancing Everywhere, All the Time… Well, When You Can
By far, the biggest change is the necessity of physical distancing: maintaining a minimum of 6-feet between yourself and others whenever possible. This one rule permeates everywhere throughout your work day; from leveling a camera to eating lunch, there are very few moments on set that you can ignore this guideline. Especially if you’ve been taking stay-at-home and safer-at-home orders seriously, it feels strange and uncomfortable to get close to people again – so much so that I found myself with a new natural aversion to people anyway.
In many situations, physical distancing is not a big deal. You spread out carts, you step a few feet further from camera, or you wait to walk up the stairs instead of passing by someone coming down.
However, there are a lot more cases where it changes how you work. It’s more difficult to become part of those conversations between a director and cinematographer about what the next shot will be. It’s challenging to move camera positions while the grips are trying to set a flag. It’s cumbersome for the camera operator to pan over when you’re slating.
And then, there are some scenarios where you do your best, but end up in the no-go-zone. On some of the interior sets, there was simply not enough space to physically distance and for all of us to work.
What makes this even more challenging, is that the level of effort you’re willing to put into physical distancing may be different than someone else’s. Maybe you’re willing to wait to mark an actor until they step away, so you remain off to the side only for the boom operator to stand right next to you to test their positioning for shadows. Or you step next to the camera to make sure it’s level and moments later hair and make-up are looking at the onboard monitor over your shoulder.
Yes, they’re violating the guidelines, but you’ll find yourself wanting to make exceptions as well. You might need to change a battery right before everyone is ready to roll and clearing the set for you to pop-in and do the swap is going to seem impractical.
What I came to realize pretty quickly in the first hours of that first job back is that physical distancing the entire time is impossible and impractical. You should still plan for physical distancing and accommodate it whenever you can, but there are times you will end up close to other crew.
Trust me, it was a major shock to my sensibilities to go from taking dramatic routes around neighbors walking along the street to standing next to a DP whilst we changed camera positions.
But in theory, this is where masks come in by preventing transmissible droplets from reaching each other when inside a 6-foot distance. Masks aren’t a perfect shield of armor (though it’s tempting to feel like they are when you’re surrounded by them), but they are the most effective defense we have.
I know this all sounds very contradictory – and it is – but there’s no perfect solution to working safely, practically, and efficiently alongside coronavirus. Instead, we’re combining many imperfect solutions together that hopefully amount to a reasonable measure of safety.
No More Buffet-Style Catering for Meals
For better or worse, the future of lunches are individually packaged meals. On the smaller shoots, this was great because we got to place our own orders (one to a restaurant, the other off of catering menus). But on the bigger shoots, there was no choice. It was like the buffet-line except somebody had already plated and packaged it for you. Your choices were what’s in the box and… that’s it.
There is an upside and a downside to this: sometimes catering isn’t great or it’s something you’re not interested in. Plus, being presented a choice of what I want to eat makes me feel like a human versus a robot that’s forced to eat the grool in the ladle or gorge on crafty instead.
On the other hand, sometimes catering is actually really good. And being able to choose how much you get of something (and going back for more if it’s been that-kind-of-day) is a benefit of buffet meals. So, it’s disappointing that we’re all stuck with boxed versions of these meals that may actually be served at less-than-ideal temperatures, in smaller portions than we’d like, and/or contain only recipes that easily sit inside pre-packaged containers (i.e. no lasagna, baby).
(Alternatively, as mentioned, the small political ad I did provided us an extra $100 to cover costs for providing, among other things, our own meals.)
Either way – I acknowledge the necessity of these self-contained meals and I appreciate that the catering companies and restaurants have adapted to provide meals we can consume safely.
Once you have your meal, you’ll be eating at least 6-feet apart from anybody else. It’s weird breaking for lunch with chairs spaced apart like we’re all taking a test, but it didn’t prevent the usual conversations from taking place, albeit in smaller groups within earshot. Fellow AC Brian Aichlmayr told me that, on his set, they took it a step further and encouraged crew to eat inside their cars.
Don’t Think About Craft Services Either
If you’re a crafty fiend, be ready for pre-packaged, individually wrapped snacks from now on. That’s great for fans of Welch’s fruit-snacks, but if your go-to is scoops of Peanut M&M’s every 30 minutes while waiting for talent, you’ll have to find another way to feed your chocolate addiction.
One of the jobs had production-provided crafty that was your classic “here we put snacks on this table” spread. I didn’t eat anything from that. The other jobs had a craft services person who monitored the snacks and didn’t allow self-serve – not even water. Instead, you told her what you wanted, she’d put on a pair of gloves, hand it to you, and throw the gloves away. That was excellent!
(I did get permission once to glove myself and grab a water bottle whilst she was eating lunch, but such exceptions only occur if you work with an awesome craft services person who’s your friend.)
During one of the preps, another person picking up gear said their most recent shoot gave out craft services “goodie bags,” with snacks and water, to each crew member as another solution.
Going into these shoots, I had no idea how craft services would work or even if it was a good idea, but after seeing those simple plans in action, there’s no reason why it can’t safely be done (so long as crew consume their snacks at the proper distance from others.)
Increased Safety = Increased Waste
Unfortunately, the downfall of these “safe” boxed lunches and pre-packaged crafty snacks is now there is even more waste than there already was on set.
Where before producers were making commendable efforts to have crew use reusable water bottles, minimize paper products expended during meals, and encouraging craft services to provide food that doesn’t add to our ever-growing global pile of plastic trash, they’ve now had to backtrack on almost all of it in the name of lowering transmission risks of coronavirus.
Add onto that disposable gloves, masks, and face-shields, and the productions that will go back to work during the pandemic are going to be generating substantial amounts of waste.
There isn’t an easy solution to this, but hopefully all the progress made in our industry towards greener sets returns when the pandemic subsides.
Temperature Zaps to the Forehead
While all four jobs mentioned this screening measure as something they would implement, only two of them followed-through on it. Perhaps the other two shoots had trouble sourcing thermometers, the personnel to do it, or gave up on the idea figuring those pre-screening forms where you say you don’t have a fever were good enough – I have no idea.
The jobs that did do temperature checks followed a simple process: the producer was waiting at our location and as she saw crew arrive, she would take their temperature by their car before giving them the OK to head to set. If you’ve been to a doctor’s office recently, it worked like that: most commonly, they zap your forehead with a temperature gun.
Nobody failed their check, as expected, but it’s still a simple protocol to implement. One could imagine a production assistant doing these checks as they hand out walkies for the day or when crew start gathering for the morning safety meeting; although a producer or COVID officer would be better equipped with the requisite authority to deal with any fevers that occur.
Remote Monitoring for Above-the-Line
Two of the four jobs took place with all necessary creative crew on location; however, the third job had remote monitoring for the director, the agency, and the client.
That’s right: our director was in Los Angeles directing from his kitchen while we, on the East Coast, were shooting on location. Incidentally, that meant our 7 AM call times were 4 AM calls for him – oof!
The basic setup was:
- A Teradek receiver fed into a laptop with hardwired internet. Using software, this enabled a live-stream of our camera’s feed to be sent to anybody off-site who required access.
- A second laptop streaming a wide-angle-view of the set itself so that the powers-that-be could see work in progress and avoid interrupting us with instructions while we were still handling previous requests.
- A Zoom call between the director, agency, and client personnel.
- Finally, a one-to-one FaceTime call between an on-set iPad and the director.
Sound complicated? Well, it was!
The poor 1st Assistant Director (1st AD) was managing all of these virtual conversations and back-and-forth and in-between requests and phone calls and had a walkie earpiece and a producer showing him texts from the client and… *insert Home Alone screaming gif*
To his credit, the 1st AD actually managed it pretty damn well. It helped that the iPad with the director’s FaceTime call was kept on a pigeon plate next to the main 17″ monitor with the volume all the way up so almost everyone on set could hear his instructions.
A more thorough write-up about remote monitoring will be part of this pandemic series later this week. The logistics of it were so wild that it deserves its own post for those who are going to be venturing down that road because what used to be technology largely reserved for special circumstances is now something we find ourselves all a part of.
But The Work, Fundamentally, Is the Same
Amidst all this newness, the work – and my job – were largely identical; at worst, modified. We’re still making commercials that require exhaustive tweaks. We’re still filming B-Roll looking for specific moments. We’re still blocking, lighting, shooting, and wrapping.
At prep, I still taped out lenses, checked the media downloads, organized cases, and tested all the gear. On set, I still changed lenses, pulled focus, moved cameras, and set up monitors – among other camera assisting minutia.
If you have ever worked in a hospital or clean-room environment (like the vaccine lab), it was sort-of like that: you’re extra careful about hygiene, cognizant of where gear goes and who touches it, and you don’t let the pressure to be fast override your requirement to be safe.
Any changes to core responsibilities – in all departments – were mostly about execution. I’ll get more into these changes in other posts from this series, but rest assured that the skills you’ve been cultivating thus far in your career are still valuable and needed. Pulling focus wide open on large format is all the same with a mask on – except maybe you sweat just a little bit more.
There is No Set Where Risk = Zero
This is something we all have to come to terms with, as we already have in other areas of our lives: grocery shopping, exercise, restaurant take-out, visiting family, and now, going to work. There is no scenario, no set, no job, where your risk of infection and exposure to coronavirus is zero, especially in the USA. So long as there are active cases in the geographic area where you’re working or there are crew traveling from areas with cases, there is a risk. Even amidst the best laid plans and stringent adherence of protocols, something as tiny as this virus can find its way through imperceptible cracks.
It doesn’t help that we still don’t know everything about coronavirus. It seems as if surface transmission chances are low, but low does not mean impossible. There may be risk of airborne transmission, but do masks mitigate that? We just don’t have all the answers right now.
So, I encourage you to evaluate the risk-level each job presents by considering factors like:
- Crew size
- Interior or exterior locations
- Geography of the shoot location (i.e. is it in a hotspot?)
- Are the locations public?
- PPE availability
- Safety checks before arriving on set (temperature checks, symptom screening)
- Who are you working with? Do you trust them?
Once you have some understanding of what you’re walking into, consider whether the compensation they’re offering is worth that risk. Remember that while coronavirus is largely measured in cases and deaths, research is beginning to uncover possible long-term effects such as decreased lung capacity, neurological issues, and fatigue. If you’re unlucky enough to suffer from those, it could prevent you from doing your job. It’s tempting to take low rates now because the work is dry, but make sure you’re not forced into an unsafe situation that could damage your health and career in the long-term.
If you ever feel that risk has risen above your comfort level, alert production to those concerns. We make movies, commercials, and music videos – we’re not frontline heroes and we don’t need to pretend to be. The trade-off between making entertainment and the strong possibility of getting coronavirus simply is not worth it. Entertainment is valuable, but we’re swimming in it these days. If we have to slow down to do our jobs, that’s how it will have to be. Collectively, crew need to embody this mentality to get that message across.
The fact is: until there’s a vaccine or more effective treatments (and even then) coronavirus is going to be the shadow that looms over us on set. It sucks. It’s scary. It’s intimidating. But it’s the reality.
And if we take that reality seriously, then we can operate as a more responsible crew on safer sets and strive to bring our collective risk as close to zero as this bitch of a virus lets us.
Until then, wear your mask, wash your hands, and stay sharp!
This is the first post in a series about filming amongst the coronavirus pandemic and the changes in our industry. New posts will be published daily for the rest of this week.
Other posts in this series: