Remote shoots - our specialty
Here’s a story of the the biggest remote shoot, we've ever done. We've got an extremely demanding brief from one side of the world. And we found a bold Director on the other.
Maggi was a highly perilous project, everything was managed remotely, the Director was remote, the Agency and Client were remote too. We've worked 100 hours on the set, managing communication across 3 time zones (Europe, Asia and United States). We were working simultaneously on two units, the scenes with actors were filmed using two robot arms and we had 7 days of shooting complex special effects.
Remote shoot: exceptional director wanted
When we got the brief for this project, we knew right from the start that in terms of visual narration we need someone with outstanding talent for telling stories, yet with exceptional eye to detail. We didn't want to go on any compromises just because we were going to shoot remotely.
We found Ruben Latre on Director'y, world’s first food and tabletop directors hub. We've launched it last year and use it on a regular basis since. After first zoom call we knew it's a match. The only thing that divided us was 7,500 km distance between Ruben and our studio in Warsaw.
Remote shoot: pre-production, casting, set design
Prior to the shoot we undertook a myriad of exceptionally multi-stage tests. Spending a week on building rigs and 3 days on in-camera tests. Every single detail was carefully discussed with the Director, to the point that we've almost felt his presence.
At the same time we've carried out a remote casting and built two kitchen sets, all in regular communication with Ruben.
Remote shoot: 7 days on the set
The shooting plan was so tight we had zero space for even tiny mistakes. Even a hurricane in Connecticut, which broke the internet connection for couple of hours couldn't stop us. During the shoot we've used 4 different tools to make the communication between the Director, Agency, Client and Studio as much efficient as possible. The whole communication system was led by our remote operator. We've worked on 2 units simultaneously, almost 100% shots that we've captured included fx work.
Katarzyna Lachowicz | Head of production
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