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Wednesday, August 5, 2020

A Message from the Utah Film Commission:

Utah Film Commission
Last week, there were two stories in the news about how
film production In Utah has begun to crawl back and that more commercials are filming in Utah. We can all agree that none of us could have imagined the world we are living in now, but the Utah film industry has always been good at adapting to changing conditions. With our skilled crew members, professional vendors and diverse landscapes, Utah has the workforce and resources for any type of production.


When Utah began to reopen in May, the Utah Film Commission had already received 140% more production inquiries compared to the previous year and projects that postponed or delayed are starting to resume production in accordance with state and local safety guidelines. You can find a list of many of those projects that are starting to film in Utah in the Current Productions section of our website.


With the unique circumstances of the pandemic, hiring crews and vendors #InUtah and choosing to #FilmInUtah is the best way to keep our industry thriving and we need your help. We want all crew members and vendors based in Utah to update or register in the Utah Film Directory to show off your experience. Anytime the Utah Film Commission receives a production inquiry, we encourage those in-state and out-of-state productions to search the directory for talented Utahns and businesses in our film industry. Now, more than ever, it’s important for the industry to know the many Utah crew members and vendors that are ready to work.


We know that this has been a difficult time for the Utah film industry, but we are all in this together.


Our office wants to hear from you what more we can do to help! Email us at film@utah.gov or message us on Facebook, Twitter, Instagram or LinkedIn.

The opinions expressed in this blog are those of the authors and—especially where guest posts are concerned—do not necessarily reflect the opinions or views of the Utah Filmmakers™ Association, its officers and/or associates.

Utah Filmmaker(s)™ and UFA™ are trademarks registered with the Utah Department of Commerce Division of Corporations and Commercial Code, Registration Numbers 10706542-0190 , 11025542-0190 and 10502093-0190 respectively.

Monday, July 13, 2020

Justus Page on the Director/DP relationship

Justus Page
My DP career began 6 years ago. What was my understanding of the Director/DP relationship back then? I was there to do what I was told. And yet inside I was angry because a part of me felt like that wasn’t right. I should have a say. But I felt too self-conscious in my abilities to be able to speak up. We existed with different expectations of each other.

This can be a very common experience for young DP’s and directors who are finding their footing. You might’ve been lucky to find someone you clicked with right at the beginning, but most are not so lucky. What is supposed to happen is an evolution of your working process. But let’s be honest; Is that what’s happening for YOU?

I think many people running in the independent/no budget circuit innocently never learned about this evolution. Nobody told them. Certainly, nobody told me. It was years of trial and error. But I found that in those roles, that evolution is a big part of your upward mobility in the industry.

Directors: Who is your cinematographer to you? Is it someone you hired to make your film look pretty? Naively, but understandably, this is often where our headspace can be, right? What’s your expectation of them? Are they there to hear your ideas and nod? Are they there to do what you tell them to? Do you want them to just show up and take command of the visuals entirely?

Image courtesy of the author
DP’s: What are you looking for in a director? Are you looking for someone to hand-hold you? Or someone completely hands-off who leaves you alone to do what you know best? You are the professional after all. A director who vomits meaning into every angle? Or a director who couldn’t care less, as long as it looks fine.

Let’s diverge from all of these entirely, and consider another possibility. Your DP/Director is your co-collaborator​. Some seasoned DP’s and Directors might scoff when they read this part because many of them understand this is how it’s supposed to be, ​duh​. But it’s not a given.

The first time I mustered up the courage and gave honest feedback on a script I was offered and the Director went “Oh, that’s a great insight! Let’s make that change,” my whole career evolved. I realized that I could insist on reading a script first, insist on giving feedback, and have an open dialogue with my prospective director. I realized I didn’t want to work with Directors who wouldn’t give me that consideration. But also, those that did showed me their ego was left at the door. They cared most about telling the best story, whatever form that took. It no longer mattered to me whether my director wanted to plan all the shots themselves, or whether they left all of that to me; My expertise was respected, my opinion was welcomed, and that created the type of working environment most conducive to doing our best work.

Image courtesy of the author
Shooting a pivotal moment in the film, the director could say, “Let’s do the shot like this,” and I could feel comfortable saying, “Actually, based on the discussions we’ve had about what we’re trying to say about this character, I think we might be better served doing this.” And guess what? The director can say “I disagree. Let’s do it my way,” and I am absolutely fine with that. That given respect is mutual. Oftentimes, conversations like the one above are avoided on the day, because I do extensive prep and planning with my directors involving look books, breakdowns, discussing character motivations, doing boards, writing shot lists, and religiously reading the script. This gets us all on the same page long before we walk on set.

Who are we as DP’s? We are the guardians of our Director’s vision. We are meant to champion their creative integrity and protect them however we can. We do this by doing everything in our power to understand them, ask 8 million questions until we’re sure we know what the expectations are and what they’re trying to achieve. We stand up for them if someone calls into question that integrity. We go the extra mile to be involved wherever we can, just to gain even an extra ounce of understanding of the vision.

As a Director, doesn’t having someone who champions these things sound exciting? Does it not sound like a weight off your shoulders? Can you sleep better knowing your vision won’t be compromised? Doesn’t it ease your tensions to know you can confide in your DP and ask them for their help? This is the world we’re all trying to live in. And it’s possible. But it takes vulnerability to open yourself up to this dynamic. You as a Director have to be open to ideas and to accept that help. You have to be open to being wrong, but also be comfortable being right, and knowing that standing your ground won’t ruffle any feathers because you’ve fostered this relationship. As DP’s we have to be open to considering ourselves as storytellers in our own right and respect ourselves enough to accept that our jobs are so closely tied to telling a story. Even if, at the end of the day, the Director gets the final word, we can allow ourselves to express our ideas to them openly, and ego-free.

In this day and age, it isn’t too hard to find someone who will make your film look good. But what about someone who makes your story better? Someone who’s invested in its success? Someone who wants to throw the full weight of their craft behind enhancing what’s on the page, and finding ways to make it even better than it was?

The key to being better storytellers for us all is collaboration. Don’t take my word for it. Go discover it for yourself! You’ll never go back to the way things were. And that, I can promise.

Feel free to reach out and open a dialogue! I’m always happy to chat!


 
The opinions expressed in this blog are those of the authors and—especially where guest posts are concerned—do not necessarily reflect the opinions or views of the Utah Filmmakers™ Association, its officers and/or associates.

Utah Filmmaker(s)™ and UFA™ are trademarks registered with the Utah Department of Commerce Division of Corporations and Commercial Code, Registration Numbers 10706542-0190 , 11025542-0190 and 10502093-0190 respectively.

Monday, July 6, 2020

Adriele Fugal on how to Work Safely on Film Sets During the Pandemic


Adriele Fugal, MSPH(c)
Public Health Safety Specialist
The COVID-19 pandemic has forced states in the U.S. and countries around the world to shut down for months as the virus has spread globally like wildfire with no regard to national borders, social bounds, political systems, or cultural values. Major industries were advised to have their employees work from home as a mitigation effort to slow the spread of the virus in order to avoid overwhelming hospital beds and avoid unnecessary deaths, especially among our most vulnerable population: older adults.

While some industries were able to have their employees work remotely, other businesses were hit hard by the shutdown, including the film industry. It is estimated that 120,000 people have lost their jobs in Hollywood due to COVID-19, while 50,000 people will be losing their jobs in the United Kingdom. The film industry has also suffered a $4 billion hit at the box office and is expected to lose even more money from stopped productions. To top it off, most insurance companies exclude any coverage of infectious diseases, including COVID-19, painting a scary picture for the future of film and television production.

Adriele...
keeping her set safe!
So, is it safe to work in film sets during a pandemic? It can be! And I will show what you can do to make film sets safe for the cast and crew while helping the film industry get back to doing what it does best. When I started working as a Public Health Safety Supervisor I did a lot of research to understand what the best measures would be to follow to minimize the spread of COVID-19 on film sets. I spent a good amount of time reading everything I could find from many well known and reputable organizations, such as the Centers for Disease Control and Prevention (CDC), World Health Organization (WHO), and Occupational Safety and Health Administration (OSHA). I also spent many days getting certificates related to COVID-19 from top-notch universities, the CDC and WHO, so I could feel prepared and capable of providing the most recent, up to date guidelines to my clients, and the best services to the people I was trusted to keep safe. And that is how I was able to be the first person in the state, or perhaps even in the nation, to develop COVID-19 guidelines for film sets, which I shared with the Utah Filmmakers™ Facebook group, and has since been replaced by the Utah Film Commission guidelines

So now, after working on over a dozen productions during the pandemic, here is my take on how film productions can work safely on film sets today:

  1. Hire a Public Health Specialist that has abundant knowledge of epidemiology, infection disease and control, and disease outbreaks, like myself, to advise your production during the pre-production phase, and make sure that all safety guidelines are being followed during the production.
  2. Have a Public Health Specialist create, manage and implement a Covid compliance program, especially for longer productions or productions with a large number of cast and crew.
  3. Make sure that the person you hire is up to date on COVID-19 information. As more research is done, more information becomes available. Guidelines might change as we learn more about the disease. As an example, masks were not recommended to the public a few months ago, but we learned that they are actually very effective in preventing the virus from spreading.
  4. Hiring a medic to do the job on set is fine, but being certified to work as a medic doesn’t automatically qualify them to know the best procedures and guidelines for sets. Whoever you hire should have the proper knowledge and training in COVID-19 specific procedures for film sets.
  5. Because COVID-19 related claims aren’t covered by production insurance, it would be advisable for producers and companies to have cast and crew sign a mandatory liability release waiver. The production should state in this document that they are doing everything in their power to prevent the spread of infection on set, and all involved should be required to follow safety guidelines put in place. Setting this expectation in advance will give the cast and crew peace of mind.

While I, as a public health professional, cannot warrant 100 percent that no one on set will ever get sick, I can assure you that by following guidelines from the Centers for Disease Control and Prevention, our state, and those widely accepted by the film industry we can effectively minimize the spread of COVID-19 on sets, while giving everyone the feeling of safety and care.


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The opinions expressed in this blog are those of the authors and—especially where guest posts are concerned—do not necessarily reflect the opinions or views of the Utah Filmmakers™ Association, its officers and/or associates.

Utah Filmmaker(s)™ and UFA™ are trademarks registered with the Utah Department of Commerce Division of Corporations and Commercial Code, Registration Numbers 10706542-0190 , 11025542-0190 and 10502093-0190 respectively.

Tuesday, June 30, 2020

Lindsey Watson on going back to work


Things to consider when going back to work.


Liability waivers.
I can’t believe I even have to write this, but there is no more important precedent to set with the industry than our refusal to sign away our lives (literally) for the privilege of having work.


The “standard” 60-hr workweek has to go.
More hours does not equal more output. And more importantly, the harder we work, the more compromised our immune systems become, and the more likely we are to not only contract but also spread Covid-19.

Kit fees should be standard for everyone asked to work from home.
If you provide equipment that the production or a facility would have provided before, you should be compensated accordingly. This isn’t just about your main workstation, this includes your laptop, your phone to manage calls (and endless text messages) all day long, and also includes stipends to cover faster internet, electricity, printer toner, etc.

Additional Reading:






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The opinions expressed in this blog are those of the authors and—especially where guest posts are concerned—do not necessarily reflect the opinions or views of the Utah Filmmakers™ Association, its officers and/or associates.

Utah Filmmaker(s)™ and UFA™ are trademarks registered with the Utah Department of Commerce Division of Corporations and Commercial Code, Registration Numbers 10706542-0190 , 11025542-0190 and 10502093-0190 respectively.