A Day Shooting Dogs, Mogs and Sprogs
CHALLENGE
IPSE (The Association of Independent Professionals and the Self-Employed) is the largest community for self-employed people in the UK. It aims to make sure self-employed people have a voice in government and provides valuable support to all types of freelancers. As part of this commitment, IPSE teamed up with Starling bank to provide some great benefits to sole traders and small businesses including Starling’s business account.
IPSE and Starling wanted to focus on real customers’ experiences of IPSE membership and Starling business accounts. We were tasked with bringing a case study to life that encapsulated this experience.
APPROACH
We met with John, owner of dogs, mogs and sprogs, a small business that specialises in walking, photographing and looking after dogs and cats. John had switched to a Starling business account after his old bank had begun to charge excessive fees.
We went for a dog walk with John and a few excitable dogs. Together with John, we explored the benefits of the Starling banking app, service and accessibility. We highlighted John’s personal journey with Starling and wanted to focus on the impact changing banks has had on his life. A key impact is that he now has more time to spend with friends and family.
The shoots took place during the ongoing pandemic in line with COVID filming safety procedures. Adapting to a skeleton crew of two allowed us to confidently scale down production whilst still being able to capture an effective and powerful case study.
We worked with the exceptional team at IPSE to deliver this video. As mentioned above IPSE’s only priority is to empower and help the self-employed in the UK and they are fantastic at it. The team were incredibly helpful during the planning and execution of the shoot making the whole process very smooth.
The final video sits on IPSE’s website and both IPSE’s and Starling’s social media. The aim is to provide more self-employed people with great business accounts that are free of fees and incredibly easy to use.
We believe that these videos will help raise the visibility of this partnership helping more people switch and empowering freelancers across the UK.
CINEMATOGRAPHY BY SAM HAYES WATKINS
We wanted to create a film that focused on John’s relationship with the dogs he walks. Highlighting how using Starling allows him to spend more time doing the things he loves.
We opted for the use of slow-motion in the footage to drive focus onto John and add emphasis to the points he was making.
Throughout the short series of videos, we incorporated John’s photography to help give the viewer a deeper connection to John’s work.
Quote from Christina at IPSE
“As always, the process was smooth and efficient and we had total confidence in London Filmed to deliver. We’re thrilled with the outcome of the video and can’t wait to work with them again in the future”
At London Filmed we have made sure that all the crew and members of the team are ready to go for filming during COVID-19. If you have any questions or enquiries be sure to contact hello@londonfilmed.com and we will be happy to help in any way we can.
Check out The Health Foundation – Blog and Beavertown – Blog for some examples of the type of work we have been able to create during COVID-19.
COVID-19 Filming Guidelines
COVID-19 SHOOTING GUIDELINES
GOVERNMENT GUIDELINES
Coronavirus (COVID-19): what you need to do
- Stay at home, except for specific purposes. Work from home if possible.
- Avoid meeting people you do not live with, except for specific purposes.
- If you go out, stay two metres (six feet) away from other people, where possible.
- Wash your hands as soon as you get home.
‘The Government has said carry on with business while making clear that social distancing should be followed in the workplace “including, where possible, maintaining a two metre distance from others.”
Source: Social distancing, keeping businesses open and in-work activities during
Latest update for the Film Industry (4th January 2020) https://mailchi.mp/a-p-a.net/tier-5-boris-confirms-production-can-continue-coronavirus-update-80?e=[UNIQID]
MEDICAL INFORMATION
Some medical context on COVID-19 (also read the WHO’s dedicated FAQ):
- The time between exposure to COVID-19 and the moment when symptoms start is commonly around five to six days but can range from one to 14 days.
- COVID-19 is transmitted from infected people’s respiratory secretions (coughs/sneezes) reaching the nose, eyes or mouth.
- The most common symptoms are fever, coughing, sneezing and shortness of breath, less common symptoms are diarrhoea and abdominal pain.
- Some people with COVID-19 suffer or show no apparent symptoms. Asymptomatic sufferers may still be infected and there is strong scientific evidence that they can transmit the virus too.
- COVID-19 can also survive on surfaces and be transmitted from them.
KEY PRINCIPLES
The purpose of social distancing and PPE is to break transmission of the virus and reduce the risk of infection. We should operate on the basis that we all have the potential to be asymptomatic carriers and must adhere to the safety principles to minimise risk. Therefore the following essential rules are based on current UK Government guidelines, and must be adhered to:
- Maintain social distancing wherever possible – two metres apart.
- Wash your hands or use hand sanitiser for at least 20 seconds as often as possible.
- Cough and sneeze in the crook of the arm or into a tissue and bin immediately.
- Report COVID-19 symptoms to your employer.
- Work from home where possible.
THE SHOOT – GENERAL
- Staggered call times where possible to avoid congestion.
- Keep the production as small as possible and minimise the number of crew/ agency/cast on set at any one time.
- Wash and thoroughly dry hands on arrival and during the day at regular intervals. Alcohol-based sanitisers should be visible throughout location and soap and water provided wherever possible.
- Consider increasing video monitors on set to avoid clusters of people.
- All crew to adhere to any safety guidelines or notices given on the day.
- Consider any space markers where possible.
- Walkies to be correctly sanitised, bagged-up and labelled with crew names before distribution – do not share radios.
TALENT ON SET
Where social distancing of talent might not seem achievable on set due to creative or action required, if possible, adapt the process to achieve within regulations (eg: use members of the same household, shoot individuals as separate plates and composite in post, etc) – if not possible then, if agreed by talent, they may be filmed together for real.
STUDIO SHOOTING
All these guidelines apply to studio productions as well as locations.
However, studios are likely to have their own risk assessment and COVID-19 preparedness plans which you will have to adhere to as well.
CREWING-UP
- A person must be allocated on set to be responsible for monitoring COVID-19 related matters whether that is a health and safety officer hired by production or a nominated crew member.
- Require all crew to notify you in advance if they develop symptoms.
- Do not confirm crew until they have signed the Health Declaration form in Appendix 1.
- Provide crew with an email confirmation of their engagement for them to produce if the police question them on their travel to the location.
NB: a waiver of rights by a crew member in respect of their contracting COVID-19 is of no value – English law does not permit excluding liability for causing injury or death through negligence, so a waiver is not part of this guidance.
TECHNICAL CREW
- Boom sound where possible, or train talent to apply mics themselves if booming not feasible.
- Camera team to wear appropriate PPE if breaking social distancing around camera (see PPE and Sanitisation section below).
HIRED EQUIPMENT – GENERAL
- COVID-19 can survive up to 72 hours on plastic and steel, so try to work out advance collection/delivery/quarantine of kit/materials where possible. If that is not possible, apply a thorough sanitation process.
- All equipment hire facilities should have their own risk assessments and health and safety practices and should provide you with a copy.
- Refer to the technician or company’s cleaning protocols and make sure they work for your production.
- As equipment is usually expensive and specialised, please rely on crew or companies to clean before hire and after with instructions how to wipe down during hire period for sanitation.
TRANSPORT
- Crew to drive themselves to set (one person per car) and be dissuaded from using public transport where possible.
- Where required, production to organise transport using drivers or car service able to demonstrate that they can socially distance passengers.
PPE AND SANITISATION
Production to have supplies of PPE for those needing to wear it:
- Tier 1 – basic PPE: masks and gloves
Note that wearing gloves needs to be managed correctly – wear for single use activities and remove, also in the event that masks become mandatory, the APA will update according to government guidelines.
- Tier 2 – enhanced PPE: including visor and covering suit.
Those who need to break two metre distancing and for a length of time to carry out their duties may need to wear enhanced PPE. Departments likely to be required to wear enhanced PPE depending on circumstances will include (but are not limited to): camera if gathering around camera, wardrobe if needing to tend to talent, HMU if needing to work on talent, medic if needing to assess symptoms.
- Covered bins provided for safe disposal of tissues and PPE.
- Crew can be asked to bring their own PPE but production must have sufficient equipment for all crew.
- Only remove talent’s PPE when essential.
- Clearly visible and spacious hygiene stations for washing, with plentiful supply of hand sanitizers and wipes
- Each department is responsible for keeping their own area and equipment clean.
- Clear health etiquette to be on posters around set (eg: Wear appropriate PPE at all times / When coughing or sneezing, cover your mouth and nose with your bent elbow / Avoid touching your eyes, nose and mouth + Put down and pickup items rather than handing / Don’t shake hands, or hug + Maintain social distancing, etc).
Please find declaration form below:
APPENDIX 1
COVID-19 HEALTH DECLARATION FORM FOR CREW / TALENT / AGENCY / CLIENT ATTENDING SHOOT
As part of our commitment to provide a safe working environment for all on set during the unprecedented, fast-changing COVID-19 situation, we need to ask you to confirm in writing by signing below, as part of your agreement with the production company engaging you, that:
- You have no cause to believe that you have COVID-19 (an NHS symptom checker can be found here) or may have been exposed to COVID-19.
- You have been meeting the Government COVID-19 guidelines and social distancing when not at work as defined here.
- As far as you are aware, you have not been in close contact with a confirmed case of COVID-19 or anyone who is showing symptoms consistent with COVID-19 within the last 14 days.
- You have not travelled to, nor to your knowledge had any contact with any individual travelling from any high COVID-19 risk countries (as deemed by UK FCO) in the 14 days prior to the shoot.
- You have not had a cough, or a temperature of 38 degrees centigrade or above in the last 14 days.
- If you develop a cough or a temperature of 38 degrees centigrade or above at any point before or during or within 14 days following the shoot you will immediately inform the production company engaging you.
- If you are over 70 years of age or have any preexisting condition which would put yourself at increased risk of severe illness from COVID-19, as defined by the Government here, you must inform production.
- You will notify us immediately should anything change as regards to the above confirmations.
- You have read, understood and agree to abide by the Habitual Media COVID-19 Shooting guidelines.
Please fill out details below:
We also need you to provide us with contact details of spouse / partner / home-dweller in the case of emergency on set, please provide those here.
Name of resident emergency contact: ……………………………………………………………………………………
Mobile of resident emergency contact: ……………………………………………………………………………………
Print your name: ……………………………………………………………………………
Signed: ……………………………………………………………………………
Job Title: ……………………………………………………………………………
Date of birth: ……………………………………………………………………………
Date: ……………………………………………………………………………
Your contact details if we need to contact you in event that crew or talent show test positive with COVID-19 within 14 days of our shoot:
……………………….…………………………………………………………………………………….
The Health Foundation
CHALLENGE
In response to the coronavirus pandemic, The Health Foundation launched an inquiry into inequalities experienced by individuals across the UK. We were tasked with bringing these case studies to the world, drawing together their individual experiences, highlighting hardships and emphasising the need for change.
APPROACH
We met with three vulnerable people from around the UK. Travelling to Wales, Birmingham and London we provided a picture of the current struggles faced by ordinary people across the UK. We didn’t want to only look at the struggles. Together with the Health Foundation, we highlighted the vital work UK charities are doing to help people during this difficult time and also provided a platform for our case studies to be seen and to help voice their hopes for the future.
The shoots took place during the ongoing pandemic in line with filming safety procedures. Adapting to a skeleton crew of three allowed us to confidently scale down production while maintaining the gravity and intimacy of the stories we were helping to share.
Throughout this project, we worked alongside the very talented team at Graylings London. Graylings are a PR agency that specialises in driving communication through creative and unique insight. The team was fantastic in providing insight and generating new and fresh ideas.
The final video sits on the health foundations website, as context to the inquiry into health inequalities during the Covid-19 pandemic. This video will support the launch of the covid-19 impact enquiry. The aim is to support the inquiry by raising awareness of issues faced by real and vulnerable people around the UK. The video can also be found on the Health Foundation’s youtube. We believe that these videos will help drive change into an area in need of awareness and support in these challenging times.
CINEMATOGRAPHY BY SAM HAYES-WATKINS
“We wanted to create a cinematic piece that focused on sensitive stories and contrasting locations.
We kept the shot list very similar for each shoot in order to bring all three narratives together into a single edit. As well as the main film we had to create a 60 second social cut for each story, so we wanted them to feel like they belonged in the same series.
Shooting the same ‘hero’ shot of each of the participants really brought the films together nicely.
Due to the emotive nature of the project, we opted for slow-motion throughout to really drive focus to the people involved.”
Behind the Lens: Beavertown Creative Space
CHALLENGE
Beavertown approached us to document their campaign to decorate London pubs with bespoke Beavertown illustration, adding a splash of colour and celebrating the British pub as a central space of culture and connection among people.
APPROACH
We brought animator Jared on early in concepting to integrate the animation into our shooting plan.
Then, we assembled two shooting crews, each armed with a Canon C200 kit and time-lapse cameras to capture scheduled graffiti sessions throughout the weekend.
One of the main challenges was to create an atmosphere that reflected the individual pubs in their normal state. COVID-19 meant that restrictions were in place, attendance was down, social distancing was enforced (and the rain all weekend didn’t help!) so creating something upbeat and positive was on the mind of everyone involved.
As well as capturing the graffiti process of the artists working on the murals, we wanted to speak to locals about the significance of the pub to them, keeping everything loose and casual to reiterate the spirit of pubgoers. To lift the series, we infused each film with tailored Beavertown animation using Nick Dwyer’s iconic illustrations.
Our interview with Nick only required a skeleton crew, who served to bring all the films together with his creative process and introduce the world of illustration to the story.
DIRECTED BY DAVID LIEB
“The approach to all things Beavertown is to try and bring the brands unique personality through in the films. When filming with Nick Dwyer we wanted to ensure the film matched and complimented his character and that of his designs. To do this we wanted to create a visual outpouring of Nick’s mind onto the screen; full of the vibrant colours and charming characters that have become synonymous with the Beavertown identity.”
ANIMATION BY JARED TOMKINS
“I had the pleasure of joining Habitual Media as a creative partner to bring life into Beavertown’s Creative Space series by animating some of their characters and other assets from their iconic branding and integrating it into live-action scenes. The process for this project involved layering the illustrations in a suitable way for importing into After Effects, rigging the characters, animating the characters and other assets, tracking cameras, and compositing the animated content into live-action scenes. The most complicated and time-consuming part of this project was layering and rigging the Beavertown characters. It was quite a challenge as there is a lot of detail in Nick Dwyer’s illustrations. I used Duik to rig any limbs and coded a number of expressions and sliders to add in those extra details. The team at Habitual carried out a great job with filming some great shots and placing the camera in clever places to allow the animation to be integrated smoothly into the scenes. A lot of the scenes involved tracking the camera in 3D space and then placing the elements in Z space with shadows, lighting, and focal blurring to create realism and give as much depth as possible.”
PHOTOGRAPHY BY JAMES STARKEY
“In my work I always strive for honest photographic storytelling. Whilst working behind the scenes on the Beavertown Campaign, I felt that it was important to not only document the character of Nick Dwyer but also to capture his distinctive illustrative characters, the process of their creation and how they were brought to life in his vivid murals.”
