Once the pandemic forced the world to shelter-in-place, Chris Crisman, like many professional photographers and directors, began to develop his own protocols for contactless shooting. But he and his crew also spent a considerable amount of time “practicing” the sort of remote production that in the past might have taken him to locations overseas such as Korea, Mexico, India, or Portugal. He put together production teams in each of these locations that allowed him to capture images without leaving his studio. In the process, he realized that in many ways he was less distracted and more focused than if he were physically there. And he learned a lot about what works, where, and when.
Chris told us he believes much of the work he will do in the foreseeable future will proceed as it did pre-pandemic. But as the world becomes increasingly more connected, there are circumstances where shooting remotely will be the preferred method. In some cases the remote shoot allows for more authenticity and customization. For the multinational pharmaceutical clients, cultural differences matter. Building a library of images that reflect local cultures and medical practices around the world will be more easily attainable. Car companies can shoot landscapes and landmarks around the world seamlessly combined with a CGI image of the their latest models. Shooting remotely also allows for access to the best of both worlds: a deep talent pool shot in a studio in Los Angeles or Philadelphia say, combined with images captured by production crews on the ground in distant locales. And according to Chris, “The pre-prodution involved in shooting remotely often results in better work.”
Take a look at the video below to get the full scope.
