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How We Directed and Produced a Video Remotely

Updated: Feb 26

The COVID-19 pandemic has significantly changed how the video production sector does business, which is no secret. It's obvious that the on-set status quo has shifted significantly, whether you're a creative whose project has been affected or a fan following the hamster wheel of release and filming date delays. Face-coverings, PCR tests, vehement social seclusion, and many other

I predict that smaller teams will soon go to jobs from agencies and clients. More teams should be able to participate remotely, in my opinion.

Simply put, COVID protection limits creatives. Be smart when planning your short film, spec advertisement, etc. Connect with a producer who is aware of safety issues as they relate to your creativity and set. Since things are currently slow for most people and tools like Zoom are available, make as many contacts in the sector as you can. We'll start to talk again, and having connections under your belt is fantastic.

Here's a work that we have done for our clients that worked in Singapore. We start by knowing each other and see how we can improve the storyboard into a better version of it.

Building Your story

During this phase of production, you will need to finalise everything, whether you are working with a script, treatment, outline for a commercial, or anything else. Whether you have 30 seconds or 3 hours to tell your story, you should think about its arc. You must determine whether it has a rhythm. When everything is ready, you may start working on your screenplay breakdown, which is a list of all the materials your production will require once filming begins.

Your script will require multiple revisions. No matter how talented the writer(s), a script is likely to go through several revisions before it is even considered for production. Early draughts provide you the opportunity to develop characters and cut out anything that doesn't work. You determine what has to be done here. You determine what has to be added, updated, or eliminated at this point. The tighter the screenplay is before shooting, the more probable it is that everything will go smoothly.

Throughout the journey, we spent a lot of time for location scouting and searching for ideal talents to fit in the role.

I agree strong communication skills is the core to our collective success. I believe remote shooting will be around forever in some form. Clients and agencies notice that they may actively interact from a distance.

Costume and Production Design

The outfit is a crucial component of a movie's aesthetic, therefore it's important to discuss the colours and textures with the production design team, the director, the director of photography, and possibly even the departments of make-up and hair as well as the costume designer. By doing this, you can make sure that the entire production has a consistent aesthetic and visual identity.

The majority of items that your characters hold, use, or interact with will be props. Before you arrive on set, you must take all of these factors into consideration. This and the set dressings—the minor touches that make your set appear to be what it is intended to be—should be handled by your production design team. The moment the breakdown starts, this work needs to be under way. Always go into situations assuming you have less time than you do. You'll be able to stay on course.

Financing and Budgeting

You'll need to have a budget in place to attract financing, so it's important to try to factor in everything that you can to come up with a logical figure. It's important not to underestimate or overestimate costs, neither will do you any favours.

In commercial projects, a customer or agency will fund your project, so you'll need to be careful how you use the funds. Due of the short turnaround times for commercials, it is crucial that casting, location scouting, and production design are planned well and started as soon as possible.

Each project you work on is an opportunity to develop relationships with individuals who can support you in challenging circumstances in the future, as time is of the essence in commercial productions. Reliable agencies and collaborators will become a significant element of the team.

Building up Your Crew

You can't complete the task by yourself. More people will start to join your team as preproduction proceeds. As you get closer to the production phase, some people can join in later while others will need to be involved as soon as feasible.

The crew will be the most crucial investment. Frequently, it can consume 80% of your budget. The kinds of crew members needed may vary depending on the scale of the production, but you'll need to locate a few people to bring on board right away because problems will start to surface during preproduction. Your Line Producer, Unit Production Manager, and First AD will be crucial in helping you organise everything.

Ready to Shoot

Let us deconstruct shooting into its component parts: You'll be using cameras to shoot performers on a set in order to make your movie. We'll look at how to prepare for everything needed both in front of and behind the camera in this section.

Models on a photo shoot or in a commercial. You need to understand that you don't just compensate them for the time they spend on the set. Getting the right to use is more important. You must consider all potential distribution channels for your goods and confirm that all relevant rights have been secured. For the media channels you require, such as web, tv, theatrical, and so forth, you must consider territory, time, and exploitation rights. You will have to pay agencies and actors more as your needs increase and your budget expands.

The Final Touches in Preproduction

It's easier for everyone to understand what has to be accomplished on set when sequences are storyboarded. A shot list will include detailed instructions on how a scene should be set up, effectively giving you a to-do list for each day of filming.

The order in which the scenes will be shot must be decided by you and your team. The ideal shooting schedule will depend on a variety of factors, including the availability of actors and locations as well as the length, technical requirements, and emotional impact of each scene. As you think about all of these things, it can be helpful to have some film scheduling advice on hand.

The 2-minute spot was a mini-sitcom, chronicling the adventures of a bunch of co-workers, looking to impress their client by rushing an innovative UI design for an important client presentation. It was brilliant – funny, quirky, and engaging. And, of course, Here is the ad:

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