FILM
THE FUTURE OF FILM IN THE POST-COVID ERA By TREVOR HOGG
TOP: MPC was responsible for stitching separate takes into one continuous shot for the Oscar-winning visual effects of 1917. (Image courtesy of Universal Pictures) OPPOSITE TOP: Engerraund Serac (Vincent Cassel) flies in a personal drone surrounded by LED walls in a scene from Westworld. (Image courtesy of HBO) OPPOSITE MIDDLE: Imagery is projected onto LED walls in the pilot episode of Westworld, shot by Paul Cameron for the scene when Dolores Abernathy (Evan Rachel Wood) witnesses futuristic Los Angeles for the first time. (Image courtesy of HBO) OPPOSITE BOTTOM: A signature effect for Watchmen was the reflective mask worn by Looking Glass, created by MARZ. (Image courtesy of HBO)
8 • VFXVOICE.COM WINTER 2021
PG 8-13 FILM FUTURE.indd 8-9
In March 2020, the escalating international situation brought on by the coronavirus pandemic resulted in governmental work-fromhome mandates to prevent the spread of the disease. As the film industry slowly recommenced productions last August, protocols were implemented that will continue to evolve. Special Effects Supervisor Chris Corbould (No Time to Die) isn’t sure whether the ramifications of COVID-19 will have a lasting impact. “It is difficult to say, at the least; however, I am determined that this horrible virus will not stop us from providing spectacular films that will make us forget the events of 2020. I am currently fighting to make filming a viable process, as it used to be, but also providing film fans with a relief from some heartfelt tragedies.” In the meantime, changes will be implemented to counter the impacts of the virus on the industry. “COVID-19 and social distancing are going to inform everything in our business until we get a handle on it, including set design and location selection,” notes Production Designer Scott Chambliss (Star Trek Into Darkness). “Real crowd scenes will likely become virtual ones, and a scripted cramped environment may turn into one with, if not windows, then perhaps lots of vent ducting present. Lasting changes are hard to predict, but habits do form with repetition. New choices required by COVID management may become accepted norms over time.” Human nature and the requirements of movie-making could work against establishing a ‘new’ normal. “From what I’ve seen and understand about people, this is going to go back to the old norm whether it is safe or not,” remarks Cinematographer Paul Cameron (Man on Fire). “We can’t go about this job differently. You can’t put a camera on a remote head or rig without close proximity and multiple people holding stuff, passing batteries and cables, and trying to shoot things. All of a sudden, everybody’s face ends up inches apart.”
Post-production has also been impacted. “We finished a score for a Netflix series that featured a small musical ensemble, the kind you would typically see playing together in a room,” explains Composer Jeremy Turner (Five Came Back). “But this time around, we had to get unusually granular with who, where and how we recorded the music, then find clever ways of mixing the score so that it sounded seamless and all felt natural. When size and scale increase, the challenges obviously compound. I genuinely wonder how smaller projects will even get made during these times. My guess is that there will be a real shift where location might dominate the decision-making process. Not only for shooting or tax credits, but for an entire production, start to finish.” On the sound side of the film industry, Mark DeSimone (Boardwalk Empire), ADR Mixer/Re-Recording Mixer at Soundtrack NY Recording, remarks, “With a sudden stoppage of production, and after regrouping and reinventing how to move forward, at least with the post-production side, there were a number of ways to continue in some capacity. More editors are working from home and connecting remotely with directors and production staff. ADR Mixers sending out remote kits to the actors’ homes and being able to have some control, while Zooming in anyone who needs to be part of the session. Not ideal, but a way to keep moving. As New York City numbers came down drastically after months of struggle, we have been able to see more actors in the studio, while Zooming in everyone else. We have even had directors in the studio safely, with a social distance and masks for everyone.” Frequent Robert Zemeckis collaborator Jeremiah O’Driscoll (The Walk) provides the perspective from the cutting room. “In anticipation of California’s statewide lockdown orders, our producers and studio post-production team secured our editorial
“I am determined that this horrible virus will not stop us from providing spectacular films that will make us forget the events of 2020.” —Chris Corbould, Special Effects Supervisor
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