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Inter-Guild Alliance Protocols

Working Proposal as of 18 May 2020

INTRODUCTION
The COVID-19 pandemic has changed the rules for everybody. Nothing will be the same for
some time, particularly in the way we do our work.

The Inter-Guild Alliance is a community-based network of various groups representing


different sectors of the film, television, and advertising industries in the Philippines that have
come together in the wake of this pandemic to evaluate how we can best move forward.


In light of events, health and safety has become even more of a paramount concern.

The purpose of forming this alliance is primarily to insure the health and safety of the cast
and staff and crew at all points of the production pipeline, not to mention the communities
they directly affect outside the production.

The Inter-Guild aims to reevaluate and reconfigure the ways we prep, shoot and edit our
projects, in close consultation with health experts, and establish a new set of protocols
designed to minimize risk and infection during the production process. These protocols are
recommended to be implemented in the interim period that COVID-19 remains a threat.

Various members, practitioners, constituents, and stakeholders within our respective


networks, have had a series of exhaustive meetings and have consolidated their inputs into
this document, factoring in vital feedback from the Philippine Motion Pictures Producers
Association (PMPPA), Commercial Production Houses Group (CPHG), and Philippine
Independent Producers Group.

The Inter-Guild Alliance is currently composed of the Directors’ Guild of the Philippines, Inc.
(DGPI); Lupon ng Pilipinong Sinematograpo (LPS); Production Design Technical Working
Group; Assembly of Assistant Directors and Script Supervisors; TV and Film Screenwriters
Collective; Alliance of Producers, Line Producers and Production Managers; Sound Speed
Philippines; and Filipino Film Editors in cooperation with a network of post production
companies.

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PRINCIPLES
• A shoot for a film, television, or advertising is not a mass gathering or a cultural
event. It is work that cannot be done remotely. It is work that necessarily involves groups
of people with different skill sets and functions coming together. It is work that is part of
an essential industry.

• New health and safety protocols for each shoot are necessary. But it is also
necessary that these base guidelines are the same for all modes of production (film,
TV and advertising), allowing for nuances and modifications in very specific cases.

• It is the position of the Inter-Guild that the government should assist productions in
the extra costs incurred from the implementation of the protocols during the pandemic.

• This document is a work in progress. As the science evolves and more data is known
about the virus and the state of things, the protocols will rightly evolve and be modified
as well. The document will be reassessed and updated intermittently at an agreed upon
interval by the Inter-Guild.

• The different sectors (not limited to the Inter-Guild) are encouraged to reassess,
conduct dialogues, and recalibrate the guidelines and protocols as needed.

GENERAL PRODUCTION GUIDELINES


These guidelines cover protocols that must be implemented in all phases of
production (pre-production, principal photography, and post production).

1. LIMITED PHYSICAL CONTACT. Virtual meetings, paperless or online transactions, and


remote reviews are encouraged in ALL stages of the production process.

2. PRODUCTION CALENDAR. Create a “new-normal” production calendar agreed


upon by the production heads with the necessary personnel involved in every stage of
production.

2.1. The calendar includes proper lead times from script development to the post
production process, in strict consideration of the parameters, protocols and
guidelines within this document.

2.2. Production must consider that local checkpoints, road closures and curfews might
still be in place, and certain quarantine regulations (such as availability of public
transportation) might still be in effect.

2.3. As such, all departments must be included in the planning stages in pre-production
to ensure that everyone is aligned on all project requirements.

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2.4. This calendar shall be the basis for packaged fees (inclusive of pre-production work)
of booked cast and crew.

2.5. Any changes to the schedule and corresponding deliverables must be mutually
agreed upon by all departments concerned.

3. ESSENTIAL PERSONNEL. Only essential personnel are allowed within the set or
any area considered as a production workspace, including but not limited to pre-
production venues and post production facilities.

3.1. Personnel on the set should not exceed a maximum of 70 people at any given
time. These include cast, crew and talents, as well as, but not limited to, tanods,
drivers, assistants, craft services, and disinfection personnel.

3.2. Visitors and guests will not be allowed at any time during the entire production
process.

3.3. Cast is discouraged from having their personal glam teams or entourage on
set. If they still prefer to have their own stylist or hair and make-up artist, they may
avail of their services in their own homes and only bring to set the needed make-up
and/or costumes.

3.4. Everyone must take extra precautions for any face-to-face interactions outside of
production.

4. WORKING HOURS. A working day of 12 hours or less must be enforced in all


stages of production. This is computed from the arrival of the first person on set until
tail lights (or the absolute “out time” that crew is off the set after egress or wrap).

4.1. It is advisable for production to allot a separate day for pre-setup and/or pre-light.

4.2. A 14-hour working day may be considered only if the production cannot afford to
pre-light or pre-setup a day before.

4.3. General area disinfection procedures before ingress and after egress are not
included in the working hours.

4.4. Any production staff tasked to supervise these general area disinfection procedures
must be compensated accordingly.

4.5. Minors1 and seniors2 will follow the dictated DOLE protocols.

1 http://www.bwsc.dole.gov.ph/programs-and-projects-submenu1/clpep/working-child-permit-wcp.html

2 https://blr.dole.gov.ph/news/department-order-no-170-series-of-2017-implementing-rules-and-regulations-on-
republic-act-no-10911-otherwise-known-as-the-anti-age-discrimination-in-employment-act/

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4.6. For post production, the working hours are defined according to the agreed-upon
schedule dependent on the set-up of either work from home or on premises.

5. TURNAROUND TIME. Having proper turnaround time should be the default for all
production personnel, from pre-production to post production.

5.1. For shoots that are NOT locked in, productions should strictly implement that
all workers will have a 12-hour turnaround time, including production staff who
will supervise the general area disinfection.

5.2. For shoots that ARE locked in, production may opt for a turnaround time of no
less than eight (8) hours.

5.3. This makes everyone more alert particularly in observing protocols and allows for
enough rest to boost immune systems and increase resistance to COVID-19.

6. CLOSED WORKING SYSTEM. Each production is considered a closed working


system.

6.1. Workplaces should NEVER be open to the public.

6.2. There should always be clear and strict entry points with controlled health and
sanitation checks.

6.3. The workers, actors, and talents that need to be on the set should only be involved
with one production at a time. NO SEGUES (or “walang lagari”) to different
projects and production units. This is to avoid cross contamination between sets
and crew.

7. SOCIAL DISTANCING. Practice physical or social distancing of at least three (3)


feet or one (1) meter3 between every person.

7.1. A social distance calculator (currently in development) will measure the required
social distancing between people on set relative to the size of the set or workspace.

7.2. For film locations, a pod system is recommended to organize and streamline
movement on set. (Full details in Pod System section under Principal Photography)

7.3. A rotating schedule can be implemented to control the number of people within a
set or workspace.

7.4. Even if spaces that can accomodate a large number of people, the maximum
number of people is still set at 70.

7.5. Crowd, intimate, and other close-proximity scenes are discouraged at this time.

3 https://www.doh.gov.ph/COVID-19/FAQs

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7.5.1.However if full and explicit consent is secured in pre-production from all
actors with roles that demand close-proximity contact, production may
proceed with filming such scenes, provided that extra precaution and
adequate consultation with the Protocol Supervisor will be made.

7.5.2.Actors have a right to refuse close-proximity and contact scenes as long


as concerns and objections are relayed during pre-production and not on the
actual shoot day itself.

7.5.3.If such scenes are absolutely necessary (i.e. not deletable or changeable in the
script), it is recommended that shooting be rescheduled to a time when physical
distancing is no longer necessary.

8. PRODUCTION ID. The production shall issue a Production Identification Card that
certifies the production personnel, cast or crew is a hired worker for the shoot.

8.1. This ID should be acknowledged by government checkpoints as a legitimate


document allowing passage of production personnel during the community
quarantine.

8.2. This should also contain the assigned pod color code of the production personnel.

8.3. If this is not possible, another ID should be given the personnel to indicate her/ his
corresponding pod assignment.

9. TRANSPORTATION. Production should provide the necessary means of


transportation to all cast and crew who are required to work on-site (e.g. location
scout, costume fitting, film set).

9.1. This can be in the form of either service pick-up and drop-off, or transportation/gas
allowances (either separate or tucked in their packaged fee) as agreed upon
between production, and staff and crew.

9.2. Seating capacity of production-hired vehicles (e.g., 2 people per row in vans)
should follow the guidelines prescribed by the Department of Transportation4.

9.3. Drivers and/or van suppliers will take charge of the disinfection of their
vehicles, assuring the production that all are properly sanitized before use of cast
and crew.

9.4. Video proof of disinfection procedure is required before van services are confirmed
to be used by production.

9.5. If possible, those who are able to self-drive are highly encouraged to go directly to
set and lessen the people using the service vehicles.

4 https://web.facebook.com/DOTrPH/posts/1685869848218811

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10. MEALS. Strict sanitation measures5 should be implemented in all food
preparations and meal distribution in the workplace.

10.1.For catering services, suppliers must provide production with a video proof that all
necessary health and safety protocols are observed.

10.2.There should be no central water and food stations, or buffet-style setup in the
workplace.

10.3.All meals should be single-serve, and packed and sealed outside before delivery
to the workplace.

10.4.Meals will be sent directly to the pods, which will be the designated eating area of
staff as assigned for each pod.

10.5.Disposable cups are strictly disallowed.

10.6.Everyone must bring their own tumblers/water bottles.

10.7.Having a common water kettle for hot drinks is allowed, provided that each
person will sanitize his/her hands before and after use.

10.8.The use of washable plates/containers and cutlery are still encouraged, provided
that:

10.8.1.Film workers bring their own.

10.8.2.Microwave and utensil sterilizers must be provided.

10.8.3.If provided by caterers, different sets will be used in every meal. (Caterers
should be able to wash them properly pre and post use.)

10.9.Meal times will be staggered, particularly during film shoots. Assistant Director
will indicate these specified times in the day’s call sheet.

10.10.Due to the limitations of work hours, productions are advised to no longer


have breakfast meals on set, especially for shoots that are not locked in.

10.11.Day-to-day meal times and allotment may be adjusted according to the specific
needs of production.

10.12.For those in locked-in locations, particularly in film and TV shoots, where


breakfast meals are packaged with accommodations, breakfast will be provided
regardless of call time. Thus there will be no need for breakfast meal allowance and
breakfast will not be served on set.

5 https://www.fda.gov/food/food-safety-during-emergencies/best-practices-retail-food-stores-restaurants-and-
food-pick-updelivery-services-during-covid-19

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11. PENALTIES. It is encouraged that every production create their own system of
penalties to curb any behavior that may cause inefficiencies during the production
process (i.e. fines for tardiness, breach of protocol, risky behavior, etc.).

12. INSURANCE. Accident and health insurance6 must be provided by production for
all staff (whether production or post production), who will be called to report to face-to-
face pre-production activities (such as location scouts, live casting, etc.) and shooting
locations.

12.1.Everyone is advised to register to PhilHealth in order to avail of COVID-19


coverage7. Non-members are also eligible for PhilHealth coverage provided that
they complete member registration before they are discharged from the medical
facility.

HEALTH AND SAFETY GUIDELINES


1. One (1) Protocol Supervisor or Safety Officer8 must be hired by production to
supervise and ensure the implementation of all health and safety protocols as
necessary for all production workspaces (from pre-production). The protocol supervisor
must be a trained or certified safety officer. (Please see Terms of Reference for Protocol
Supervisor)

2. One (1) Medic9 must also be hired and must be present at all times on set to ensure
that medical assistance is available whenever necessary. He/She will be tasked to
conduct temperature checks upon entry into the workspace, and monitor all staff for
the following COVID-19 symptoms10:

2.1. Cough;

2.2. Shortness of breath;

2.3. Chills;

6Consolidated information on short-term insurances (Working File):

https://docs.google.com/spreadsheets/d/18AKzTM1FwXiswghpjUMulQtUzQDMk-EI00UNloqT2Qs/edit?
usp=sharing

7 https://www.philhealth.gov.ph/circulars/2020/circ2020-0009.pdf

8An Occupational Safety and Health Practitioner/Consultant is accredited by the Department of Labor and
Employment. We hope the position’s responsibilities can be integrated with the Protocol Supervisor for the
purposes of production (See Annex A, Terms of Reference). Additional details on Occupational Safety and
Health Accreditation are available here: http://www.oshc.dole.gov.ph/images/procedural-guidelines-do-16.pdf

9 Please see Annex A, Terms of Reference.

10 https://www.cdc.gov/coronavirus/2019-ncov/symptoms-testing/symptoms.html

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2.4. Fever (temperature of 38°C and above)11;

2.5. Muscle pains;

2.6. Excessive headache; and

2.7. Loss of smell or taste.

If any of these are present, the infected person/s will not be permitted to enter the
workspace. Medic and Protocol Supervisor will then implement the appropriate Crisis
Response Protocol in Item 9 of this section.

3. Utility crew shall now be trained as Protocol Assistants to assist in disinfection


procedures, restocking of PPEs and sanitation stations, and proper waste disposal.
They can no longer be tasked for handing out of food and refreshments to avoid any
risk of on-set contamination.

4. All personnel must fill up a government-approved Health Declaration Form12. Apart


from standard questions, the health declaration form should include the following:

4.1. Travel history in the past four (4) weeks

4.2. Shoot history in the past four (4) weeks

4.3. Personal insurance and HMO coverage (if available)

5. A 14-day quarantine for all workers is recommended where every worker subjects
himself/herself to a 14-day quarantine in his/her house before his/her first face-to-face
interaction with any member of the project, whether this initial interaction be in the
preproduction, principal photography, or post-production phase. To prevent any
infection within the project schedule, he/she should stay home between his/her work
days within the same project.

6. All personnel must attend a Health and Safety Seminar13 conducted or supervised
by a certified health worker or the Protocol Supervisor, before engaging in any creative,
production, and post-production work.

11 According to latest Department of Health case classification: https://web.facebook.com/photo/?


fbid=3236296049714958&set=a.3236295323048364

12The Proposed Health Declaration Form for production shoots will be based on the Daily Health Checklist as
mandated by the Department of Trade and Industry (DTI) and the Department of Labor and Employment (DOLE):
https://www.covid19.gov.ph/wp-content/uploads/2020/05/DOLE-AND-DTI-GUIDELINES-ON-WORKPLACE-
PREVENTION-AND-CONTROL.pdf

13 Pending discussion and coordination with the Department of Health, or any government agency appropriate
at this time.

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6.1. This health seminar will explain health risks and symptoms of COVID-19 and all
applicable production/shooting protocols that promote proper hygiene culture.

6.2. It is preferred that this be conducted remotely through video conferencing. If viable
internet should be a problem for any personnel, a live orientation is optional but
discouraged.

7. It is recommended that all personnel undergo COVID-19 testing at the beginning of


joining the production. All tests conducted must be read by an accredited laboratory
(for PCR test) and a certified health officer (for Serological tests). The use and
provision of test kits will depend on availability.

7.1. The PCR (polymerase chain reaction) Test is the preferred test as it is the most
accurate. Consider this method as testing infrastructure and supply chain improves.

7.2. The Serological or Antibody Test gives the fastest results but is only 60% accurate.

7.3. First responders and hospitals must have priority on test kits.

7.4. The production house shall provide test kits and carry the costs of the procedure.

8. Proper sanitation, health and hygiene protocols14 must be observed at the


workspace at all times in all stages of production. (Specifications per production
phase are discussed in their corresponding sections.)

General work area guidelines identified are:

8.1. All locations, sets and workspaces shall undergo general area disinfection
procedures before and after use.

8.2. The disinfection process should be documented and submitted to production. No


documentation, no ingress.

8.3. All equipment, props, and any moving items and touch points involved on set
must be disinfected upon pull-out from original location (i.e., supplier or prop
house) and upon ingress to shooting location.

8.4. There will be a single point of entry in the workplace with health and sanitation
control points manned by a health worker and/or marshal (temperature check,
vetting for symptoms, foot soaks, etc.).

8.5. Regular disinfection of high-touch areas, such as toilets, door knobs, light
switches and the like, must be every 4 hours, or as advised by the Protocol
Supervisor.

14 https://www.cdc.gov/coronavirus/2019-ncov/community/reopen-guidance.html

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8.6. Mandatory and proper use of face masks in all production phases must be
implemented in all activities requiring face-to-face interaction.

8.7. When departments need to engage in close contact with each other (such as hair
and make-up, catering, props men), face shields must be worn at all times. These
shall be provided by the production.

8.8. Observe proper cough etiquette.

8.9. Everyone should carry personal disinfection tools such as wipes, alcohol, hand
sanitizers, and soap.

8.10.Thermal checks by the hired production medic will be done each time any
personnel enters the workspace. There will be a minimum of two (2) thermal
checks per day.

8.11.Disinfectants and hand washing stations shall be provided for, and shall be
visible, in different areas of the workspace.

8.12.Proper waste management and disposal should be practiced. Each and


everyone should be responsible for their own waste material. Production must have
designated waste bins in the workspace.

8.13.The Inter-Guild proposes creating an information-sharing database on disinfection


methods and suppliers.

9. Proposed Critical Response Protocol in the event of COVID-19 infection in


production shoots. In the event that any person in the workspace is suddenly
identified to be a Person Under Monitoring (PUM), Probable Case, Suspect Case, or
Confirmed Case15 as defined by the Department of Health16, the following guidelines
are recommended:

9.1. Medic will isolate the person, and conduct COVID testing if available.

9.2. Protocol Supervisor will inform the Assistant Director and Producer on set to pause
production and stop movement for risk assessment.

9.3. All pods will be locked down.

9.4. Protocol Supervisor will do immediate contact tracing to determine which pod is
cleared and which is infected.

15https://web.facebook.com/OfficialDOHgov/posts/alamin-ang-bagong-klasipikasyon-ng-mga-covid-19-
patients-sa-ating-bansa-mapapali/3219175128093717/?_rdc=1&_rdr

16New classification for COVID cases in Administrative Order 2020-0013: https://drive.google.com/file/d/


1dOSYCPsL8AwSGtSQnPUolamJVhhLTDPI/view?
fbclid=IwAR1_l8nJP7IKmpEYzSy4sgUwAcnaolTGRtNLhzSrWj3X2nzUHDgvo1lVabI

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9.5. The Medic, in coordination with the Protocol Supervisor, will make a
recommendation if the shoot can proceed or not. Packing up the shoot is the
Producer’s call, prioritizing the health and safety of all the people on the set.

9.6. Production will coordinate and transport the PUMs and/or probable/suspect/
confirmed case/s to the appropriate government or medical facility, or to the place
of residence as mandated by the Department of Health guidelines.

9.7. Production will inform the person’s emergency contact/s of the situation.

9.8. For further assistance, please refer to the following DOH hotlines:

For COVID-19 health concerns


(02) 894-COVID (26843)

1555

NCR-dedicated Telemedicine Hotlines


Telimed Management Inc., and Medgate Hotline - (02) 8424-1724

Global TeleHealth, Inc. (KonsultaMD) - (02) 7798-8000

For mental health concerns


NCMH Crisis Hotline

(0917) 889-USAP (8727)

(02) 899-USAP (8727)

PRE-PRODUCTION GUIDELINES
1. All meetings and prep work will be done virtually via video-conferencing
applications as much as possible. These include, but are not limited to:

1.1. Scene-by-scene (which involves representatives of all departments)

1.2. Story conference (which involves the director, AD and the main cast)

1.3. Storyboarding

1.4. Agency Feasibility

1.5. Client Pre-production

1.6. Technical Meetings

1.7. Alignment meetings per department

2. For other pre-production meetings and activities that absolutely cannot be done online
(such as camera/look/screen test, etc.), it is advisable to strictly observe the 12-hour

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work limit and 12-hour turnaround time, including the basic guidelines of social
distancing and having a minimal number of people in the workplace.

2.1. General area disinfection of the designated workplace must be conducted before
any face-to-face activity.

2.2. Casting and auditions should be pre-recorded and reviewed remotely. Director and/
or AD will provide pre-recorded instructions.

3. For Production Design and Art Department:

3.1. Prep work will only commence if:

3.1.1.Production budget has been released and is available on hand according to


the agreed-upon tranches with Producer. This may be given in cash or via online
banking to minimize contact.

3.1.2.Materials can be bought physically from stores and suppliers or can be


coursed through online transactions.

3.2. Production must take the following considerations for PD prep work:

3.2.1.Strict working hours and turnaround time of 12 hours

3.2.2.Merchants and suppliers for buying props and material might still operate for
limited hours.

3.2.3.All art department work movements require extra steps in disinfection and
sanitation (e.g. all costumes need to be washed before and after fittings, and
prior to shoot; all props and sets need to be disinfected upon purchase/sourcing
then again prior to shoot; etc.).

3.2.4.All set locations, studios, and places of operation (i.e. mills, workshops) need
to be disinfected prior to art department ingress.

3.3. As such, the Production Designer will coordinate with the Producer on a
timetable with corresponding deliverables (set design, props list, costume
design/look, etc.) that is mutually agreed upon, with the assurance that each
limited prep day will be maximized.

4. For shooting locations, the following guidelines are advised:

4.1. Location directives and requirements from Producer, Director, Director of


Photography, Production Design, and Sound Recordist should be clear before
scouting begins.

4.2. Initial location proposals should come from stock and online sources.

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4.3. Only when absolutely necessary, and stock photos/videos are unavailable, will
the Location Manager go to the actual location to take photos/videos, and
complete measurements for sets (as instructed by the Production Design and
Cinematography teams) and holding areas, to check for compliance to the pod
system.

4.3.1.Production must provide Location Manager with the necessary protective


equipment for any in-person prep work.

4.4. Locked-in or isolated shoots are recommended if production can afford to


contain the cast and crew in a locked location and accommodations for a specific
time.

4.5. If not locked-in, locations must be sealed off and isolated from the public.
Public spaces where crowds can converge are not allowed. These include, but are
not limited to:

• Markets;

• Churches;

• Bars and clubs;

• Parks;

• Streets; and

• Malls.

4.6. Proper clearances and permits must be secured from the corresponding Local
Government Units (LGUs) that shortlisted/chosen locations are free of COVID-19
infection and are open for filming.

4.7. Location owners and caretakers will also be required to accomplish Health
Declaration Forms.

4.7.1.In addition, they should submit a complete list of the names of the people
who live in/have been in the property. This information will be attached to
their submitted Health Declaration Forms.

4.7.2.No ingress/movement will be made unless these documents have been


secured.

4.8. Location Manager will constantly monitor for COVID cases during the time of
location hunt, oculars, and shoot. Any history of COVID cases within the DOH-
guided radius should be excluded from consideration and replaced accordingly.

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4.9. All locations must allow for proper air ventilation. There should be ample space
for holding areas, foot traffic, and the proposed zoning for the pod system.

4.9.1.It is also suggested to shoot Day for Day and Night for Night to avoid having
sets with low air ventilation, while minimizing equipment to be used.

5. For location ocular/scout/recce:

5.1. This is only scheduled and done when locations have been shortlisted and
approved by the Producer, Director, DOP, PD and Sound Recordist.

5.2. Locations must be disinfected prior to any ocular/scout/recce, providing


production with video documentation as proof.

5.3. Only essential staff will be required to attend (i.e. initial scout, director scout and
technical scout). At this point, the necessary Health Declaration Forms must have
been submitted to production. Likewise, production must have secured the
necessary insurances for required staff in attendance.

6. Only one shooting location is allowed per day or “walang baklas.” For productions
that are locked-in and the entire location vicinity is reserved for production’s use,
company moves may be considered with due diligence.

PRINCIPAL PHOTOGRAPHY GUIDELINES


1. Essential Shoot Personnel

1.1. To prevent cross-contamination, all booked staff CANNOT BE REPLACED for the
duration of the shoot, including crew from suppliers. The Walang Lagari rule must
be followed to avoid cross contamination.

1.2. Productions shall have the option to pick crew members from a roster provided by
the supplier.

1.3. Suppliers must send crew and staff who are qualified to handle the extra workload.
Thus it is imperative to train crew for multitasking.

1.4. In cases where cast or staff need to be replaced due to emergencies or for
production efficiency, Producers must take due diligence in following the Health and
Safety Guidelines discussed in the previous section.

2. Shoot Safety and Sanitation

2.1. Locations should undergo general area disinfection before ingress and after
egress of each shooting day.

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2.2. The disinfection process should be documented and submitted to production. No
documentation, no ingress.

2.3. One (1) Protocol Supervisor/Safety Officer and one (1) Medic must be present at all
times.

2.4. At the designated entry point, there should be:

2.4.1.Temperature check;

2.4.2.Foot bath with DOH-recommended disinfection solution;

2.4.3.Drying mat; and

2.4.4.Alcohol dispenser with 70% alcohol solution.

2.5. No staff, crew and location owners/caretakers will be allowed to enter the
shooting premises without face masks. Production will provide these face masks,
and will be distributed beforehand. Face masks should be worn properly at all
times.

2.6. Hand washing stations with clean water and soap should be available or set up
within the shooting premises.

2.7. Toilets and/or portalets must be cleaned regularly and disinfected after every
use.

2.8. Alcohol dispensers should also be provided in multiple areas of the location.

2.9. Notices/signages, including a summary of all agreed safety protocols should


be printed and posted within shooting premises.

3. Work Hours and Turnaround Times

3.1. WITH one (1) day pre-setup and pre-lighting, a 12-hour work day maximum is
implemented. This includes the arrival of the first person on set, meal times, set
egress until tail lights. This does not include general area disinfection.

3.2. WITHOUT any advance set-up and lighting, a 14-hour work day can be
considered. This should be the only exception for extending beyond 12 hours, and
must be done by production with due diligence.

3.3. For non-locked-in shoots, the turnaround time should strictly be a minimum of
12 hours, giving due consideration to production staff supervising general area
disinfection as the first and last persons on set.

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3.4. For locked-in shoots, the turnaround time can be a minimum of 8 hours, for all
cast and crew.

4. Mandatory Dress Code

4.1. All staff must dress in accordance with infection prevention, i.e. closed footwear,
non-loose clothing, and minimal skin exposure.

4.2. Shorts are allowed.

4.3. No scarves, oversized shirts, and skirts as these are more prone to surface contact.

4.4. This is on top of the mandatory PPEs (face masks and/or face shields and/or
gloves) and safety dress code required in specific departments.

5. Mandatory Use of Radios

5.1. To minimize physical contact and on-set movement, the entire production staff is
advised to communicate via two-way radio system.

5.2. As such, production will provide radios for all members of the key staff.

5.3. Radios will be disinfected before issuance to key staff and upon return at the end of
the project.

5.4. Each personnel will be in charge of their assigned radio with its corresponding
earpiece for the duration of the shoot. Any damages or loss may be charged to
personnel.

6. Pod System as the Recommended Workflow on Set

6.1. This method organizes the production in separate units, limits contact between
crews, and assists in the contact-tracing procedure in the event somebody gets
infected.

6.2. IDs will be color coded to show which pod a person may be allowed access to.
The assigned pods (except Pod 1/Active Set) will also be the designated eating area
for personnel.

6.3. During extraordinary circumstances (such as crucial production issues, logistical


concerns, set-dynamics management, and other production decisions) where face-
to-face intervention is ABSOLUTELY necessary, the Line Producer or
designated production head on set can cross to different pods. Crossing over
pods will be strictly supervised by the Protocol Supervisor.

6.4. Monitors should be provided per pod as allowed by production budget and
equipment availability.

16
6.5. Please refer to pod system diagram below:

STANDBY TENT

Drivers

Tanods

(No need to enter the main shooting area)

1 ENTRY POINT / MAIN SANITATION AREA

Protocol Supervisor / Safety Officer

Medic / Nurse

Utility Crew as Designated Protocol Assistants

(Have access to all pods)

Portalets must be situated near here for easier regular cleaning/disinfection

Pod 1 Pod 2 Pod 3 Pod 4 Pod 5


ACTIVE SET VIDEO TECH PD/CAST BASECAMP/
VILLAGE ON-SITE
Director
DOP
PD
OFFICE
Producer/LP
Director
Camera crew
Art Dept team

PM
Producer/LP
Sound
Wardrobe
Producer

AD
AD
Grip HMUA
LP

Script Con
DOP
Cast
PM

DOP team
PD
Script Con LM

Camera Crew
Script Con
PA 2

Sound
Agency*
Pantry
PD + team
Client*
Cast

PA 1

Producer/Line Producer (or any 1 designated production head)


can have access to any pod only under extraordinary circumstances

6.6. The suggested workflow for the pods is as follows:

6.6.1.Staggered arrival on location in this sequence:

• Line Producer, Protocol Supervisor, Production Manager, Location Manager,


Tents, Generator;

• Production Design;

• Technical Crew; and

• Director, Director of Photography, Assistant Director, Cast.

• For TVCs and other applicable medium, Agency and Client should view
remotely.

6.6.2.PD team will clear the Active Set after setup. A representative may remain as
assigned by PD.

17
6.6.3.Camera and Lighting team will do setup on the Active Set. Manpower
necessary will be recommended by the DOP.

6.6.4.All non-essential personnel will clear the set as the Director and Assistant
Director check the final set.

6.6.5.Actors will enter for rehearsals. Final touch-ups and adjustments must be done
by personnel already in the Active Set.

6.6.6.Exiting of the Active Set will be done in reverse.

6.7. This suggested pod system may be adjusted as deemed necessary given that
each production is unique. However, it is encouraged that pod designations be
observed at all times to limit infection.

6.8. For further recommendations on the use and implementation of the pod system,
and sample call sheets showing staggered call times and timelines, please refer to
the ADSS Production Protocols17.

7. Equipment

7.1. Equipment suppliers, including suppliers of tents, portalets, tables and chairs,
must submit a clear protocol of equipment and crew sanitation, including
video proof of sanitation, that is in line with the protocols mentioned in this
document to ensure that all equipment is duly sanitized before they are allowed to
unload on set.

7.2. Suppliers must make sure equipment assigned to a project will not be
swapped out to other productions, especially if the gap in between shooting days
is short.

7.3. Camera and Monitors

7.3.1.Wireless camera accessories (i.e., video assist, focus pulling, remote heads,
etc.) will be prioritized for production.

7.3.2.Suppliers must re-calibrate the rates of these items, as they are now essentials
rather than special requirements.

7.3.3.Demand for these accessories will go up. Suppliers must replenish their supply
to meet it.

17ADSS Production Protocols: https://docs.google.com/presentation/d/


1OTikXoQz8AHWtKazkLtYD9hEs0ZsInVsaUM6VZlaIBQ/edit?usp=sharing

18
7.4. Lights and Grip

7.4.1.Less manpower on set will require more automation. Suppliers are encouraged
to provide tools that can help crew members handle heavy equipment safely.
These may include, but are not limited to:

• Power tools;

• Carts;

• Electric lifts; and

• Safety harness.

8. On-Set Art Department

8.1. Regardless of the social distance calculator and the 70 max headcount, the
minimum number of art department members on set is kept at six (6) people.

8.2. If the shoot requirements cannot be managed by a 6-person team, scenes may
need to be adjusted or postponed until protocols are lifted.

8.3. The 6-person breakdown is as follows:

• Production Designer/Set Designer/Coordinator

• Art Director/Set Decorator/Props Master

• On-set Propsman/Set Dresser/Setman

• Costume Designer/Wardrobe Head/Stylist

• Wardrobe Assistant

• On-set Setman

9. Auxiliary or Off-Set Staff

9.1. An off-set pod of assistants, set dressers, swing staff and other personnel may be
available on call (for purchasing, sourcing, fabricating, etc.).

9.2. They can stay in their respective safe working areas and will not be allowed within
the shooting premises.

9.3. This will not be included in the 70-person maximum limit.

19
10. Props Management

10.1.Props from the box/sealed container should be sanitized before use. The Protocol
Supervisor can inspect props as necessary.

10.2.Props need to be disinfected again after use and stored in a sealed container,
regardless if it will be used again.

10.3.A system that segregates props as "SANITIZED" or "USED" can be implemented.

10.3.1.Handling of props will be the responsibility of only one Propsman.

10.3.2.Art department personnel should have their own individual tools (cutters,
tapes, hammer, etc) that nobody else will use. No sharing of tools. Disinfect
tools before use and regularly.

10.4.If the prop is not required on the call sheet, it should be strictly left in storage.
Deciding on shooting day to add more sequences for filming are discouraged.

10.5.For more detailed protocols on Props Management, please refer to the Art Dept
Safety Guidelines/Recommendations for Shoot under the Time of COVID18.

11. Costume Management

11.1.Wardrobe team is required to use face shields, face masks and gloves at all times.

11.2.Handling of costumes will only be done by the wardrobe staff and cast as
assigned.

11.2.1.Costumes will be pre-packed and sealed per cast member and per scene
requirement.

11.2.2.A basket system will be implemented where the wardrobe team can lay
down clean costumes for cast members to pick up prior to wearing/fitting.
Return of used costumes will be done in the same manner. One basket/bin per
Actor is advised.

11.2.3.Hanging and ironing of clothes should be done only by members of the


wardrobe team.

11.2.4.Garment bags will help keep hanged items from further contamination.

11.3.Talents (background extras or additional options) are allowed to bring their


own costumes but should be sprayed with Lysol or any other appropriate

18Art Department Safety Guidelines/Recommendations for Shoot under the Time of COVID: https://
docs.google.com/document/d/1wOMxC57R8YdOUDV6np4gWkVSFX-piuDgnmYcHg6qoVI/edit?usp=sharing

20
disinfectant. This will then be ironed before use. These costumes will only be
used by the owners and no one else.

11.4.Fixing of costumes on set will be done by the cast members themselves.


Wardrobe assistant is not advised unless absolutely necessary. Script supervisor
and AD on set may also assist but without physical contact.

11.5.For more detailed protocols on Costume management, please refer to the Art Dept
Safety Guidelines/Recommendations for Shoot under the Time of COVID19.

12. Set Management

12.1.Only the assigned set supervisor can touch and modify the set.

12.2.If there are adjustments, technical crew and production crew need to clear the area
before set personnel will be called in for adjustments.

12.3.Once the set is finalized, the art department will conduct a final disinfection. The
set should then be considered as a hot set in which the area can no longer be
touched, and access to it is limited only to actors and other crucial staff members.

12.4.For more detailed protocols on Set management, please refer to the Art Dept
Safety Guidelines/Recommendations for Shoot under the Time of COVID20.

13. Hair, Make-Up and Prosthetics

13.1.Social distancing must be applied between makeup areas.

13.2.All hair and makeup artists must wear gloves, face masks, and face shields. These
will be provided by production

13.3.Hair and Make-Up Artist should provide one (1) set of personal brushes and
disposable tools per client.

13.4.Actors are encouraged to bring their own applicators (brushes, sponges, etc.) and
make-up.

13.5.Actors will take charge of their own touch-ups during the entire shooting day.

13.6.Hair and Make-Up Artist/s, and Prosthetics Team will be only allowed on set if
absolutely necessary.

19Art Department Safety Guidelines/Recommendations for Shoot under the Time of COVID: https://
docs.google.com/document/d/1wOMxC57R8YdOUDV6np4gWkVSFX-piuDgnmYcHg6qoVI/edit?usp=sharing

20 ibid

21
13.7.For more detailed protocols for Hair, Make-Up and Prosthetics, please refer to the
Art Dept Safety Guidelines/Recommendations for Shoot under the Time of COVID21.

14. Sound

14.1.The sound recordist/sound mixer/sound department head must be included in


the pre-production stage.

14.2.Since it is recommended to minimize the use of lavalier microphones to limit close-


proximity interaction between actor and sound crew, locations that are quiet, and
conducive to clear and good sound recording should be prioritized.

14.3.Should lavalier microphones be necessary, production should follow a 1:1 ratio of


lavalier set to actor. This means the number of wireless lavalier sets required is
dictated by the number of actors with speaking lines called for the day.

14.4.There should be no sharing of lavs at any point.

14.5.The script, lines/dialogue, and characters with lines for any given scene must
be locked 72 hours prior to the shooting day to ensure that the necessary
number of wireless lavalier sets and sound personnel are allocated.

14.6.A dedicated wireless/radio frequency coordinator (ideally the production


recordist/sound mixer/sound department head) must be present on set to
coordinate the frequencies. If possible, these frequencies may be assigned and
set before the shoot.

14.7.For mounting of wireless lavalier microphones on actors:

14.7.1.A proper crash course on mounting lavalier microphones (for actors, hair
and make-up and/or wardrobe assistants) must be scheduled before the shoot.

14.7.2.The actor will be mounting the wireless set and taping the lavalier
microphones on themselves with one (1) sound personnel or another crew
member tasked to be the only one in contact with the actor.

14.7.3.The maintenance and security of the unit will be under the care of the
actor, who may be subject to damages in case of equipment mishandling or
loss.

14.7.4.A main actor will be assigned their lavalier sets at the beginning of the
production. This will be theirs until the end of production. However, the actor is

21Art Department Safety Guidelines/Recommendations for Shoot under the Time of COVID: https://
docs.google.com/document/d/1wOMxC57R8YdOUDV6np4gWkVSFX-piuDgnmYcHg6qoVI/edit?usp=sharing

22
required to return each set at the assigned table, properly labeled and packed,
preferably disinfected, at the end of each shooting day for safekeeping.

14.7.5.There will be a hand-off table for equipment on the active set one (1)
meter away from the sound recordist. This is where gear will be picked up
and dropped off as supervised by the sound department.

14.7.5.1.Wireless kits for each actor will be prepped, labelled, packed, and
sealed with expendables such as batteries, adhesives, wind protection.
These kits are to be picked up by the actors before they shoot their
scenes and dropped off after.

14.7.5.2.Micing up will be the last step for actors to do before going on


camera.

14.7.5.3.Timecode boxes and wireless hops for camera crew shall be


prepped, labelled, packed, and sealed with batteries and cables, etc.
These are to be picked up by the camera crew at the start of the
shooting day as guided by the sound department. These will be dropped off
on the hand-off table at the end of the day.

14.7.5.4.In order to help avoid unnecessary movement, the sound team will not
travel to the hair and make-up, wardrobe, or basecamp pods to install
or remove transmitters.

14.7.5.5.The sound department will require the support of production, especially


the AD department in applying this procedure.

14.7.6.Directors, script supervisors, and any person that needs to monitor the
production mix must bring their own personal headphones for use.

14.7.7.Disinfection of comms headsets, which are typically used on TV and live


event productions, shall be done before and after every shoot/show. On top of
this, the crew is requested to bring their own headphone or ear cup covers for
additional protection.

14.7.8.For battery changes and adjustments to the wireless unit itself, the actor can
be directed by the sound personnel with social distancing observed.

14.7.9.Additional time may be required for installing and removing transmitters and
lavalier microphones since the actor will do all of these.

14.7.10.The AD Department should give actors time to remove and drop off


equipment at the end of each scene.

23
14.7.11.There should be enough mounting tapes, expendables, etc for the
application of microphones to keep things fresh and sanitary.

14.8.To minimize human contact, sound files may be transferred via online transfer
protocols.

14.9.For further details for the sound department, please refer to the SSP (Sound Speed
Philippines) Sound Department Protocols22.

15. Egress

15.1.Payments for the daily wage earners are recommended to be done online
rather than through cash basis.

15.2.Thorough clean-ups of all shoot work areas must be guaranteed before


proceeding to tail lights. The art department will only be responsible for the
cleaning up of the actual set areas and their respective holding/work areas. The
clean-up of the rest of the location will be supervised by the Production Manager
and Location Manager.

15.3.General disinfection of the shooting area will be done after the production cast and
crew have left the location.

POST PRODUCTION GUIDELINES


1. A work-from-home arrangement with post professionals will be prioritized. Post
professionals include:

1.1. Editors;

1.2. Colorists;

1.3. Score composers;

1.4. Sound designers;

1.5. Composite artists;

1.6. Dubbers / voice-over talents;

1.7. Recording artists; or

1.8. Anyone required in the post-production process.

22SSP Sound Department Protocols: https://docs.google.com/document/d/


1IZyylwxTW7JBoSofoDNJkwGJS6XRN1B4sSvmsQhTzIo/edit?usp=sharing

24
2. Post will be included in pre-production to set a timetable and workflow that will be
mutually agreed upon by all parties involved. Post-production timetables should be
agreed upon in advance by the producer, director, post-house operator, editor and post
supervisor.

2.1. This agreement will be in the form of a post calendar where preview schedules,
deadlines of deliverables, and the like are specified in advance.

2.2. Post professionals will work no more than 12 hours a day on a project, with a 12-
hour turnaround time, where curfew hours should also be considered.

2.3. Any changes in the timetable will be consulted to all parties involved mutually
agreed upon.

3. Post-production stakeholders will also make consolidated efforts to address


potential piracy, as well as other eventual online communication and technical
concerns.

4. Post professionals who will be working on-site (on location during production) must be
included in the applicable protocols for principal photography.

5. Production insurance must also be secured for post professionals if they will be
required to do on-site editing, face-to-face interlocks and the like.

5.1. For employees, their post house or supplier will provide the insurance.

5.2. For freelancers, production will provide them insurance if they will be required to
report to set.

6. Post house operators will commit to the sanitation and disinfection rules
mandated by the Department of Health in the maintenance of their workspaces.
Prior to use, all workstations and suites shall be disinfected thoroughly before and after
a work session.

7. Post professionals required to report on site must be accorded with the appropriate
means of transportation to location.

7.1. If public transportation is still not available, productions must include post
professional in the van service pick-up schedule.

7.2. If public transportation is available or the post professional has a personal vehicle,
gas or transportation allowance will be provided, whether separate or tucked in their
packaged fee, as mutually agreed upon by both producer and post
professional.

25
8. Post professionals required to report to the post house must likewise be provided a
means of transportation to and from work, whether separate or tucked in their
packaged fee, as mutually agreed upon by both producer and post professional.

9. As with other production staff, meal allowances will be provided to post professionals
as tucked in their packaged fee.

10. Turnover Process for Offline, Grading, Sound, Score, Visual Effects, Online,
Finishing and Distribution

10.1.All personnel involved in the turnover process (post production assistants, drivers,
post house employees) must duly accomplish a Health Declaration Form.

10.2.It is recommended that drivers transporting any production-generated


materials to post professionals/house remain the same for the duration of the
project. This is to allow for easier contact tracing and safeguard against piracy.

10.3.Third party courier services are discouraged. If third party couriers are needed,
deliveries will be made by authorized personnel who will sign a waiver to ensure
protection from piracy.

10.4.No bare hard drives. All drives should be in hard plastic drive enclosures or
disposable bubble-wrap instead of foam, since foam and other porous materials
are susceptible to contamination.

10.5.Hard drives delivered will be disinfected using appropriate methods.

10.6.All documents generated by production (sound report, camera report, script


continuity sheets etc.) will be sent by email to the assistant editor.

11. Preparatory Work

11.1.In an effort to combat piracy, only proxy materials with burned-in violators
(text overlays on image) will be prepared for editors working from home.
Prominent violators shall be placed on the image area of every shot indicating the
following information:

• Project name;

• Post house;

• Complete name of the Editor; and

• Complete name of Assistant Editor.

26
11.2.The post house or independent digital imaging technician (DIT) shall also prepare a
Non-Disclosure Agreement (NDA) between them and the post team, with sanctions
indicated in the said agreement.

11.3.If the editor is able to accept materials fully online:

11.3.1.The assistant editor will send proxy files, organized bins, and pertinent
compiled production documents through a secure online drive.

11.3.2.The editor is required to submit any proof of software licensing or


subscription to the post house.

11.3.3.Online or cloud storage shall be provided by the clients in lieu of a


physical hard drive.

12. Offline Editing

12.1.Previews of dailies, edits and revisions will be done online via secure or
private networks (such as Vimeo, FTP, etc.) To avoid piracy, these uploads shall be
password protected, non-downloadable, and will expire after a few days.

12.1.1.Prominent violators shall be placed on the image area of the entire video
indicating the following:

• Project name;

• Full name of the recipient; and

• Date of export.

12.1.2.There will be no sharing of links.

12.1.3.If there are multiple recipients, each will be given their own link indicating
unique violators.

12.1.4.The account will be under the control of the producers or post house.

12.2.If the editor cannot work from home and must work at the post house, safety
protocols set by post house operators must be strictly observed.

13. Presenting Cuts and Final Edits with Clients

13.1.For interlocks or viewing or sit-down sessions, post houses will impose limits on
the maximum number of people working in a space depending on the size of
the space to comply with social distancing rules.

13.2.Post attendees coming from a production shoot may only attend interlocks or sit-
down sessions 14 days after the last shooting date they attended.

27
14. Finishing

14.1.The finishing process (grading, VFX, sound design, online editing etc.) may require
post staff to work on premises due to monitor and speaker set-up calibrations
specific to the theatrical experience.

14.2.All transportation and post safety provisions apply in these cases.

14.3.If the client chooses to pursue a fully digital and remote finishing process,
post undertakes the due diligence of explaining the technological limits of the
clients’ monitor and/or speaker set-up. In return, the client must acknowledge
that disparities in theatrical or other distributions may arise due to the nature of
remote viewing.

14.4.The post house operators will recommend the appropriate number of post
attendees for finishing interlocks depending on the size of the space since rooms
are usually small, enclosed, and or air-conditioned places.

14.5.Only one (1) representative from each relevant client or department is


allowed. For example:

14.5.1.Director for editing sessions;

14.5.2.VFX supervisor for VFX previews;

14.5.3.Director of Photography for color-grading; and

14.5.4.One more representative (Producer or Post Production Supervisor).

14.6.Post house operators will limit movements to and from the post house for the
safety of post staff from avenues of infection. Post attendees or post
professionals requesting food deliveries must keep this in mind.

14.7.For further details on the post production protocols, please refer to the United Post
Recommendations for a COVID-Safe Workplace23.

For any comments or suggestions on how we can improve these guidelines,


please contact us at: interguildalliance@gmail.com

23United Post Recommendations for a COVID-Safe Workplace: https://docs.google.com/document/d/


1UDVILP2kfUgtQR3V5RGxpv-TKI7JngJRKLEal1mNYB8/edit

28
ACKNOWLEDGMENTS
This document is the collaborated effort of the following people:

JEDD DUMAGUINA BENJAMIN TOLENTINO


Sound Speed Philippines Filipino Film Editors

MACKIE GALVEZ, LPS PAOLO VILLALUNA


Lupon ng Pilipinong Sinematograpo Directors’ Guild of the Philippines, Inc.

JULES KATANYAG ORLANDO R. ILACAD


TV and Film Screenwriters Collective President, Philippine Motion Pictures
Producers Association (PMPPA)

PATTI LAPUS MA. LOURDES N. SANTOS


Alliance of Producers, Line Chairman, Philippine Motion Pictures
Producers and Production Managers Producers Association (PMPPA)

MARA PAULINA MARASIGAN MARIA MADONNA G. TARRAYO


Assembly of Assistant Directors President, Commercial Production
and Script Supervisors Houses Group (CPHG)
Kapisanan ng mga Assistant Directors
ng Patalastas (KAPS)

BENJAMIN PADERO BIANCA BALBUENA-LIEW


Production Design Philippine Independent Producers Group
Technical Working Group

29
Adelina Leung, PD-TWG Armand Reyes, DGPI
Adolf Alix, DGPI Armi Rae Cacanindin
Adrian Arcega Arnel Mardoquio
Adrian Miguel Nellas, SSP Arnie Robiso, PD-TWG
Agot Isidro Ash Malanum
Aida Concepcion, PD-TWG Aurel Ayson
Aika Rapay Ava Yap
Aiko Sanchez, PD-TWG Ayu Martinez
Aileen Cornejo Castillo Baby Ruth Villarama, DGPI
Alain Chua, PD-TWG Bam Manlongat
Alec Figuracion Bea Constantino, PD-TWG
Alemberg Ang Benjamin Tolentino
Alexander Guinto, PD-TWG Bern Torrente
Alfred Errabo, Jr., PD-TWG Bianca Balbuena-Liew
Alvin Cabalda, PD-TWG Bianca Gonzales Dadivas, PD-TWG
Alvin Francisco, PD-TWG Bianca Trinidad
Alvin Yapan, DGPI Bill Gustilo, PD-TWG
Ana Lou Sanchez, PD-TWG BJ Mendiola
Anchinette Villamor Bombi Plata, KAPS
Andoy Ranay, DGPI Bonnie Martin
Andrian Legaspi Boombee Bartolome, PD-TWG
Andy  Andico Bradley Liew
Ann Janielle Candelaria, PD-TWG Brillante Mendoza, DGPI
Anne Monzon, LPS Bryan Dumaguina, SSP
Anthony Calderon, PD-TWG Butch Garcia, PD-TWG
Antoinette Jadaone, DGPI Byron Velasquez, PD-TWG
Apol Dating Camille Aragona, KAPS
Apple Fara-on, PD-TWG Candy Manalo Nagrampa
April Batican Candy Reyes Alipio, PD-TWG
Archie Escarcha, PD-TWG Carl Adrian Chavez
Arden Rod Condez Carla Pulido Ocampo
Ari Trofeo, SSP Carlitos Siguion-Reyna, DGPI
Arjanmar Rebata Carlo Cannu
Arman Montallana, PD-TWG Carlo Tabije, PD-TWG

30
Carlo Valenzona Digo Ricio, PD-TWG
Carmela Acol Dino Pastrano, KAPS
Carmela Danao, PD-TWG Diong Fernandez, PD-TWG
Cath Sobrevega, PD-TWG Dix Buhay, LPS
Cedric Regino Dodo Dayao
Cedric Regino, SSP Dolly Dulu
Cesca Lee, LPS Donel Lijauco, SSP
Chad Cabigon Doreen Bernal, KAPS
Chai Fonacier Dot Labro
Charita Castinlag Doy Del Mundo, DGPI
Charles Albert Alabado, PD-TWG Drew Milallos
Charles Estadilla, PD-TWG Dwein Baltazar
Cherry Sy Ed Lejano, DGPI
Cheska Salangsang, PD-TWG Ed Roy Jr., DGPI
Chet Garcia, PD-TWG Edmund Manaois, PD-TWG
Chris Martinez, DGPI Edward Marvin Abueg, PD-TWG
Christian Mendoro, PD-TWG Edwin Michael Abueg, PD-TWG
Christiane Abueg, PD-TWG Eero Francisco, PD-TWG
Christine Blando, KAPS Effie Go, PD-TWG
Chuck Gutierrez Elaine Villapando, PD-TWG
Clark Lopez, KAPS Ellen Ongkeko-Marfil, DGPI
Constantin Felipe V. Maglalang Ellen Ramos, DGPI
Cris Pasturan, KAPS Em Millan, PD-TWG
Crisanto B. Aquino Emmanuel Calixto, PD-TWG
Cy Bautista Emmanuel Clemente, SSP
Czarina Mae Buyao-Cabuniag Emmanuel Magpantay, PD-TWG
Dan Villegas, DGPI, LPS Ems Guerrero
Dante Cuanico, SSP Erica Racela, PD-TWG
Dante Nico Garcia, DGPI Erick de Guzman, PD-TWG
Darwin Bolsico Ericson Navarro, PD-TWG
Dennis de Castro, PD-TWG Erik Matti, DGPI
Dennis Payumo, SSP Erlinda Ynchausti Cruz
Derick Cabrido, DGPI Ernesto V. Austria, Jr., KAPS
Dessa M. Jimenez Erwin Estanislao

31
Estelito Pangilinan, PD-TWG Jacqueline R. Carlos
Eugene Raymundo, PD-TWG Jake Galvez, PD-TWG
Eugene Torres Jamagne Vergara
Evangeline Torcino James De La Vega
Fatrick Tabada James Sales, KAPS
Francisse Frias Jamie Capulong, PD-TWG
Fries Bersales, SSP Jamie Capulong, PD-TWG
Gbert Tongo Janice Tamon, PD-TWG
Gen Sarabia Jann Eldric Mejia, PD-TWG
Geo Lomuntad Jason Conanan
Geo Lumitad Jason delos Reyes, PD-TWG
Gerald Guardiano, SSP Jay Altarejos, DGPI
Gerald Tecson Jay Castillo
Ghie Chan, PD-TWG Jay Halili
Guada Reyes, PD-TWG Jay Linao, LPS
Hai Balbuena Jay Wee, PD-TWG
Han Salazar Jaymar Lahaylahay, PD-TWG
Harley Alcasid, PD-TWG Jed Medrano
Henry Philip Lu, SSP Jedd Dumaguina, SSP
Herald Chavez Jeffrey Hidalgo
Herbert Relagio, SSP Jeffrey Jeturian, DGPI
Hershey Valdez, PD-TWG Jefree Nicolas, SSP
Honee Alipio Jen Chuaunsu
Ian Villa Jenevev Bandiola
Iana Celest A. Bernardez Jeps Gallon
Ice Idanan Jerrold Tarog, DGPI
Ilsa Malsi Jessa Rose
Ilsa Muit, PD-TWG Jessie Lasaten
Immanuel Verona Jester Gopez, PD-TWG
Irene Villamor Jhoice Maming, PD-TWG
Irma Adlawan Ji-ann Lachica
Isabel Luz Quesada Jim Libiran, DGPI
Ivan Andrew Payawal Jmee Katanyag
JA Tadena, LPS Jo Macasa

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Jocelyn M. Palaypay Keavy Eunice E. Vicente
Joe Alandy Keith Sicat
Joel Ferrer, DGPI Kenneth Lim Dagatan
Joel Lamangan, DGPI Kenneth Mandrilla
Joel Ruiz Khavn De La Cruz
Joey Romero, DGPI Kira Romana
John Anthony Wong Kitten Abueg, PD-TWG
John Arcilla Kristi Gallaga, KAPS
John Bedia Kristian Domingo, SSP
John Isaac Natividad Kristin Barrameda
John Tan Kristine Kintana
John Torres Kyrrnelle Delgado, PD-TWG
Joi Bayan Lars Magbanua, PD-TWG
Jonas Lucas, PD-TWG Lauren Dyogi, DGPI
Jonathan Hee, SSP Laurence Sadiwa, PD-TWG
Jopie Sanchez, PD-TWG Lav Diaz, DGPI
Jorge Cabullo, PD-TWG Lee Briones, LPS
Jose Javier Reyes, DGPI Lei Ponce, PD-TWG
Jose S. Atienza, Jr., KAPS Leo Velasco Jr., PD-TWG
Josem Arie R. Pabion Leoniza Madrid, PD-TWG
Joseph Santos, SSP Lexter Favor Tarriela
Josh Edrosa Linnet Zurbano
Joven Tan, DGPI Loraine Barretto
Joyce Bernal, DGPI Lore Reyes, DGPI
Joyful Twinkle Zamudo, PD-TWG Lorna Sanchez
Juan Pablo Pineda III Louie Ignacio, DGPI
Jules Dacanay, KAPS Louie Kim Sedukis, PD-TWG
Jules Katanyag Lydia Go, PD-TWG
Julián Miguel Hernandez, SSP Lyrics Malate
Jun Lana, DGPI Ma-an Asuncion-Dagñalan
Justine Navato, PD-TWG Mabelle Sian, PD-TWG
Karl Legaspi Mac Alejandre, DGPI
Katrina Napigkit, PD-TWG Mackie Galvez, LPS
Kaye Banaag, PD-TWG Madonna Tarrayo

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Mae Cruz Alviar, DGPI McCoy Tarnate, LPS
Maita Baello, PD-TWG Melai Entuna
Maki de Vera Melanie Jimenez, PD-TWG
Maki Sarmiento Melchor Avila Berja
Malay Javier, LPS Melvin E. Lee, KAPS
Manet Dayrit Meryll Soriano
Mannix Mateo, PD-TWG Michael Angelo Dagnalan, DGPI
Manny Castaneda, DGPI Michael Bayot, PD-TWG
Manuel C. Angsico III, KAPS Michael Espanola, PD-TWG
Maps Arciga, PD-TWG Michaella Tish Virgo, PD-TWG
Mara Paulina Marasigan, KAPS Mickey Hirai, PD-TWG
Marc Jayson Jose, PD-TWG Mickey Macachor
Marco Morales Mickey Macachor, SSP
Maria Cristina L.Tobias Milo Alto Paz
Maricar Zacarias Migs Cruz, LPS
Marielle Hizon, PD-TWG Mike Idioma, SSP
Marilen Magsaysay Mike Sandejas, DGPI
Marinette Lusanta Mike Tuviera, DGPI
Marinette Natividad-De Guzman Mikee Supetran, PD-TWG
Marjorie Darunday Sales Mikhail Pineda, SSP
Mark Anthony de Leon, PD-TWG Mikhail Red, DGPI
Mark Jason Sucgang Mikko Baldoza
Mark Laccay, SSP Miko Araneta
Mark Locsin, SSP Miko Livelo, DGPI
Mark Meily, DGPI Milo Sogueco, DGPI
Mark Perol, SSP Mitoy Sta. Ana, PD-TWG
Mark Rosales, PD-TWG Mo Zee, LPS
Markus Vita, SSP Moises Anthony Cruz
Marlon Rivera, DGPI Monchie Redoble, LPS
Marvello Julian, KAPS Monica Sebial, PD-TWG
Marxie Maolen Fadul, PD-TWG Monster Jimenez
Mary Ann Perez Myrene Santos, PD-TWG
Mary Antonette Maddela Perez Neil John Lorenzo, PD-TWG
Mary Rose Pabalan, PD-TWG Nestor Abrogena, PD-TWG

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Nicholas Varela, SSP Rajiv Idnani
Nick Deocampo, DGPI Ramil Pineda, PD-TWG
Nikki Duque, PD-TWG Raquel Villavicencio
Nikolai Andico Rashem Gumacal, PD-TWG
Nimrod Sarmiento, PD-TWG Raymond Red, DGPI, LPS
Nina Torres, PD-TWG Reign Anne De Guzman
Noel Teehankee, LPS Relyn Tan
Nor Domingo, LPS Ren'z Zaira Estacio
Noreen Capili Renard Torres
Onay Sales Renz Pangilinan, PD-TWG
Owen Sarmiento, PD-TWG Rhamel Victorino R. Julio
Pam Miras Rica Arevalo, DGPI
Paolo Maderal, KAPS Rica Rizza G. Eusebio, KAPS
Paolo Villaluna, DGPI Richard Somes, DGPI
Pat Pamintuan Ricky Lee
Patricia Denize Salic Rious Caliso, PD-TWG
Patricia Sumagui Riza Bacay, PD-TWG
Patrick Topacio, PD-TWG RJ Tagayon
Patti Lapus Rob Jara
Paul Soriano, DGPI Robert Santos, PD-TWG
Paula Gupana, SSP Robert Sarmiento, PD-TWG
Pedring Lopez Rochelle Jan Crisostomo, PD-TWG
Pepe Diokno, DGPI Rodel Valencia, PD-TWG
Perci Intalan Roel Abito, SSP
Perry Tabora, PD-TWG Roma Regala, PD-TWG
Popo Diaz, PD-TWG Ronaldo "Roni" Bertubin, KAPS
Punky Taguines Roni Bertubin, DGPI
Quark Henares, DGPI Roni Velasco, DGPI
Rae Red Rosanno "Sunny" Dumayas, KAPS
Raf Evangelista Roy Lachica, PD-TWG
Rafa Siguion-Reyna Roy Llanes Roncales, SSP
Rafael Dillena, PD-TWG Rudy Gonzales, SSP
Raffy Magsaysay, SSP Ruel Bayani, DGPI
Rain Yamson II, LPS Ruel Dahis Antipuesto, SSP

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Ryne Bustamante, PD-TWG Whammy Alcazaren, PD-TWG
Santiago Miano, Jr., SSP Wilfredo Gallardo, Jr., KAPS
Sarah Pagcaliwagan-Brakensiek Will Fredo, DGPI
Sari Dalena, DGPI Xeph Suarez
Shai Advincula Xy Pintoy
Shari Montiague, PD-TWG Yam Laranas
Sheenly Vee D. Gener, KAPS Yumi Catabijan, PD-TWG
Sheka Ong, SSP Yves Patron, SSP
Sherina Inza-Cruz, PD-TWG Zac Acebu, SSP
Sheron Dayoc, DGPI Zig Dulay
Sheryl Rose M. Andes
Shiel Calde
Shiela Quintos, PD-TWG
Shirley Fabella
Siege Ledesma
Sonny Calvento
Stephanie Brocka
Stephen Lopez, SSP
Steve Salvador, PD-TWG
Sue Aspiras
Sunshine Flores, PD-TWG
Sunshine Matutina
Tara Illenberger, DGPI
Tin Velasco
Tirso Cruz III
Toffe Sunga
Tony Reyes, DGPI
Topel Lee, DGPI
Trisha Sikat, PD-TWG
Troy Espiritu
Vanya Fantonial, SSP
Veronica San Antonio, PD-TWG
Victor Villanueva, DGPI
Warren Munar, PD-TWG

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ANNEX A
Terms of Reference

Protocol Supervisor

General Scope of the Job

The Protocol Supervisor (PS) is responsible for guiding the overall strategy and
implementation of the recommended health and safety protocols in all phases of
production. This position can be integrated with the responsibilities of a DOLE-accredited
Safety Officer. He/She will closely coordinate with the Producer and all department heads to
ensure that all pertinent health information is cascaded to all cast and crew, and that the
project is able to set up and maintain a safe working environment.

Organizational Relationship

The Protocol Supervisor reports to the Line Producer the specific health and safety
requirements necessary for production.

Responsibilities and Tasks

1. Risk Assessment

1.1. Collection and evaluation of cast and crew’s Health Declaration Forms

1.2. Review of fit-to-work clearances for cast and crew

1.3. Supervision of PCR testing of cast and crew, if applicable

1.4. Evaluation of chosen film locations in terms of feasibility in the implementation of


health protocols

2. Pre-production Supervision

2.1. Organize and/or conduct a Health and Safety Seminar for hired cast and crew to
discuss in full detail the recommended health and safety protocols (either online or
live orientation)

2.2. Train production crew who will also be designated as on-set Protocol Assistants

2.3. Participate in oculars to assess safety of chosen locations

2.4. Coordinate with the Production Manager and Location Manager in mapping out
where sanitation stations should be placed within the set or location.

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2.4.1.Development of the production pod system appropriate to the specific project

3. Principal Photography Supervision

3.1. Recommend disinfection suppliers and methods

3.2. Supervise disinfection before ingress and after egress during each shooting day

3.3. Ensure that necessary disinfection methods (e.g. surface disinfection) be carried out
regularly during each day.

3.4. Oversee ALL protocols are properly implemented.

3.5. Implement the applicable crisis response protocols as recommended by the


Department of Health

Note: For post production, it is the responsibility of the post production company to properly
implement health and safety protocols within their premises. However, in the case of freelancer post
workers, the scope of the PS responsibilities can be extended to cover them.

On-Set Medic

General Scope of the Job

An On-Set Medic is either an Emergency Medical Technician (EMT), nurse or a paramedic


who provides emergency medical assistance to individuals involved within a production.
He/She will work closely with the production crew and cast for any medical issues or
concerns that may arise during shooting. He/She shall also be the primary consultant for
any production decision requiring medical expertise. During this time of the pandemic, he/
she shall assist production in the monitoring of cast and crew for any COVID-related
symptoms.

Organizational Relationship

The On-Set Medic reports to the Line Producer for any staff- or production-related medical
issues. He/She works in tandem with the Protocol Supervisor for any medical concern
particular to the implementation of health and safety protocols in the production.

Responsibilities and Tasks

1. Health monitoring of production personnel

2. Provision of emergency medical care on set

3. Primary consultant for any production decisions requiring health and medical expertise

4. Function within the scope of care as defined by the Department of Health

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