Wonder Wheel courtesy of Andrew Wonder
Earth is like the Army Corps of Engineers. Anything that has to be done to prep a space for talent is created in advance by the Earth crew. For example, if you were trying to move into your house, would you have it painted that morning? No. You want the paint to dry before you start muscling in the furniture. This means changing expectations. You can’t expect a group of designers to set up a space and then be able to film in that space before lunch. Instead, you let the Earth crew, including art and additional lighting, do their thing and set up. This is scalable, from simple props to full production design.
I don’t think you’d find many people who would defend the structure of the traditional film set. We’ve all just gotten used to it.
That way, directors can show up with the Fire crew, and work immediately. Fire is really about the act of shooting, so it’s the director, the camera unit, and an art dept person. The Fire team can come in and shoot like a surgical strike. When you approach it like this Fire suddenly has this whole day in a front yard with a house and a family. Nobody has to move locations or go do running footage with a different crew.
None of this would be possible without the Wind crew. I think of Wind as the logistics of the set, composed of key support staff from each of the departments who can move in and out as needed. What used to feel like protracted changeovers the Wind team makes feel more like strategic pitstops. When wardrobe comes in for a change, the energy is that of a race team. They make the change, they move on, and nobody has these teams mingle or wait around.
A traditional film set works largely as one unit, with a single producer or production manager as a communication hub. Rethinking set safety means rethinking that highly centralized communication.
By approaching production with this new structure, we lose some things. We lose base camp and video village with ten people sitting under a tent for hours. But we gain a chance for clients to have real-time playback from wherever they are. Directors can stand in front of a camera like a news reporter and communicate with them directly. It’s higher connectivity, more direct communication, and more time spent on getting the material we’ll see on screen.
Production is so fun and creative, but for too long, it has been one size fit all. You hire people to do the same things, and they fill requirements, and sometimes it feels like all of these preconceived decisions aren’t necessarily advancing the purpose of any particular project. Shooting during this period of disruption is the first time I'm looking at shoot plans and I feel like everyone belongs exactly where they need to be. We’ve finally brought a level of intention to what we’re doing, on every level.
The Link LonkJanuary 20, 2021 at 02:07AM
https://www.shots.net/news/view/its-time-to-reinvent-the-production-wheel
It's time to reinvent the production wheel | shots - Shots
https://news.google.com/search?q=Wheel&hl=en-US&gl=US&ceid=US:en
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