APPROVAL SHEET

This thesis/dissertation entitled HEALTH AND SAFETY

PROTOCOLS OF LOCAL INDEPENDENT FILMMAKERS DURING THE PANDEMIC IN
BAGUIO prepared and submitted by RENCIE C. GENERALO, HERSHEY MAE
F. RIVERA, JACK KENJI F. MENDOZA, FRANCIS JOSHUA C. SIBONGA in
partial fulfillment of the requirements for the degree of
BACHELOR OF ARTS IN COMMUNICATION, has been examined and is
recommended for acceptance and approval for oral examination.

MR. PATRICK JOHN F. SANTIAGO

Adviser

Thesis Committee

Member Member

Chairperson

_____________________________________________________________

PANEL OF EXAMINERS

APPROVED by the Committee on Oral Examination on

_______________ with a grade of _________.

Chairperson

Member Member

ACCEPTED AND APPROVED in partial fulfillment of the

requirements for the degree of TYPE DEGREE IN CAPITAL LETTERS.

DR. ROMEO JAVINES, DEAN GRADUATE SCHOOL, Degree

Dean, Graduate School

 HEALTH AND SAFETY PROTOCOLS FOR LOCAL INDEPENDENT FILMMAKERS
DURING THE PANDEMIC IN BAGUIO CITY

THESIS ABSTRACT

Title: HEALTH AND SAFETY PROTOCOLS OF LOCAL INDEPENDENT

FILMMAKERS DURING THE PANDEMIC IN BAGUIO CITY

1.1 Total No. of Pages:

1.2 Text No. of Pages:

Researchers: RENCIE CHUA GENERALO

HERSHEY MAE FERNANDEZ RIVERA
JACK KENJI FERNANDEZ MENDOZA
FRANCIS JOSHUA CORPUZ SIBONGA

Type of Document: Thesis

Type of Publication: Unpublished

Accrediting Institution: University of the Cordilleras

Keywords:

Abstract:

Rationale/Background

Give a brief discussion of the rationale and objectives of

the research study.

Summary

Include the research problems, hypotheses, methodology and

statistical treatment of data.

Major Findings

The following are the major findings of the study:

1.

2.

3.

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 HEALTH AND SAFETY PROTOCOLS FOR LOCAL INDEPENDENT FILMMAKERS
DURING THE PANDEMIC IN BAGUIO CITY

4.

Conclusions

In light of the findings of the study, the following

are the conclusions:

1.

2.

3.

4.

Recommendations

In relation with the findings and conclusions of this

research, the following are recommended:

1. Further Research on the Development of the Methods of

Filming Procedures and Protocols

2. A Handbook on the New-Normal Safe Filming

3. A Seminar and/or Webinar Series Discussing The

Production Protocols During the Pandemic

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ACKNOWLEDGEMENT

Make an introductory sentence or preliminary sentence

about this page as part of the thesis. Acknowledge those

who you think have contributed to your work. Always use

the third person point of view.

Mention the name, and how this person has helped you;

Followed by the next person, and so on.

Limit this part to two (2) pages only.

Thank you very much.

3 single spaces from the last line

Your INITIALS

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DURING THE PANDEMIC IN BAGUIO CITY

DEDICATION

This page is intended for those to whom the researcher

wants to dedicate his/her work. The first person point of

view is allowed.

nickname

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DURING THE PANDEMIC IN BAGUIO CITY

TABLE OF CONTENTS
PAGE

TITLE PAGE . . . . . . . . . . . . . . . . . . . .

APPROVAL SHEET . . . . . . . . . . . . . . . . . .

ABSTRACT . . . . . . . . . . . . . . . . . . . . .

ACKNOWLEDGEMENT . . . . . . . . . . . . . . . . . .

DEDICATION . . . . . . . . . . . . . . . . . . . .

TABLE OF CONTENTS . . . . . . . . . . . . . . . . .

CHAPTER

THE PROBLEM

Background of the Study . . . . . . . . .

Theoretical/Conceptual Framework . . . .

Statement of the Problem and Hypotheses .

DESIGN AND METHODOLOGY

Research Design and Methodology . . . . .

Population and Locale of the Study . . . .

Data Gathering Tools . . . . . . . . . . .

Data Gathering Procedure . . . . . . . . .

Treatment of Data . . . . . . . . . . . .

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CHAPTER 3 Page

PRESENTATION, ANALYSIS AND

INTERPRETATION OF DATA

Xxxxxxxxxx . . . . . . . . . . . . .

Xxxxxxxxxxxxxxxx . . . . . . . . . .

4.SUMMARY, CONCLUSIONS AND RECOMMENDATIONS

Summary . . . . . . . . . . . . . .

Conclusions . . . . . . . . . . . .

Recommendations . . . . . . . . . .

REFERENCES . . . . . . . . . . . . . . . . . .

APPENDICES

A xxxxxxxxxxxxx . . . . . . . . . . . . . . .

B xxxxxxxxxxxxxxxxx . . . . . . . . . . . . .

C xxxxxxxxxxxxx . . . . . . . . . . . . . . .

CURRICULUM VITAE . . . . . . . . . . . . . . . .

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Chapter 1

THE PROBLEM

Background of the Study

The filmmaking industry has been substantially affected due

to the COVID-19 pandemic. Producing films has become challenging

to filmmakers that safety protocols and guidelines are now a

necessity to be implemented and observed. Its impact was made

visible not only to the local setting but its effect became

evident globally. It is agreeable that the pandemic has caused

the production of films to be canceled, be postponed, and has

brought unexpected changes to all.

According to the World Health Organization (2020), the

pandemic has led to a dramatic loss, and has also presented

unknown challenges in the field of work. WHO states that the

disruption brought by this has led to danger and risk of millions

of people falling into extreme poverty, and that this could

increase as the year ends. It was mentioned that a huge number of

enterprises encounter an existential threat. Almost half of the

3.3 billion workers globally are in danger of lost livelihoods.

People might not have the ability to earn money during lockdowns

and are unable to sustain families.

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DURING THE PANDEMIC IN BAGUIO CITY

In the global scene, reports have mentioned that due to the

unprecedented surge of this pandemic, numerous TV shows in Los

Angeles have delayed their return in producing shows, considering

the continuation of production because of the ongoing and

increase of COVID-19 cases throughout the country. With this,

studios, as well as streamers’ reviews involve logistics that

include talent availability, and whether the cast and cast will

be paid for the days they will be taking a hiatus (Petski, 2021).

Productions have continually and strictly followed the COVID-19

protocols since the filming resumed.

During this period, movie theaters were one of the many

industries that were greatly affected. Companies such as Cinemax

were strained in discontinuing their operations permanently,

while some of the other companies have still allowed few people

in booking private viewings for the reason of earning money

(Chojnowski, 2021). In other countries, they have released an

announcement in assisting a socially distanced opening of

theaters (Florida State University, 2021).

In the midst of the pandemic, the filmmakers were devastated

when the pandemic started. It was estimated that the US box

office will lose $5 billion dollars in 2020. Due to this, long

anticipated aspects of films have been postponed and are delayed

indefinitely. The pandemic will not pass soon, and it has forced

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many people to create a long-term plan with their lives. This has

cost the filmmaking industry numerous amounts of money, and has

changed the way people watch new movies forever (Chojonowski,

2020).

According to Atkinson and Kennedy (2020), COVID-19 has

halted the production of many films, both large and small scale

around the world which means the movie market was in a downfall

during the pandemic. COVID-19 has made movie financing more

risky, due to increased health security and insurance costs.

Independent studios may find it harder to raise capital. This

could have the unintended consequence of reducing diversity of

movie content (Hall & Pasquini 2020).

The challenges that face the industry should not be

underestimated. Film studios and locations are spaces filled with

people and frenetic activity. Crew and performers tend to work in

close proximity and in frequent close physical contact – think of

make-up, hair and costume departments and all the equipment that

is routinely handled and passed between crew members (Atkinson &

Kennedy 2020).

In the Philippines, movie company Regal Entertainment has

expressed the suspension of all scheduled shootings on March 15,

2020, after the announcement of the government of community

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DURING THE PANDEMIC IN BAGUIO CITY

quarantine due to the rise of COVID-19 cases in the country.

Companies such as ABS-CBN Films including Star Cinema, Black

Sheep, Cinebro, and Cinema One Original have also discontinued

their production during this period to ensure the safety and

prioritizing the welfare of its artists, the staff, and the

general public. Indeed, COVID-19 has shaped all parts of life,

including the unexpected increased rate of the number of people

being infected and dying. This became evident that this has

affected all families and societies (Gharaibeh, 2021).

In this difficult time where people are in need of an

occupation, and the drive to produce quality movies and shows for

the public to be entertained, the film and audio-visual industry

continue to give its effort in creating shows, risking themselves

to the virus.

Today, the film abides by the released, modified “bubble

shoot” protocols in resuming their operations. In December 2020,

the Department of Trade and Industry, along with the agencies,

Department of Health, and Department of Labor and Employment have

released these health and safety and protocols for the producers

to follow in appeasing the COVID-19 pandemic.

Lock-in taping or a “bubble” is a term that is used to

describe how stars and production crew members are prohibited to

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leave an area or place for a period of time. Instead, they are

advised to stay at a particular location, locking themselves

during the entire filming to assure everyone’s safety inside and

outside of shooting (Film Development Council of the Philippines,

2020).

On the other hand, several media producers have also decided

to follow on working from home remotely. Despite the fact that

this was being performed before the pandemic, the Work from Home

(WFH) is currently known as an alternative working to minimize

the risk of COVID-19 infection. (Vyas & Butakhieo, 2020). Over

the past decades, WFH has been defined in various terms such as

remote work, flexible workplace, telework, telecommuting and e-

working. These refer to the ability of the employee to work in

flexible workplaces, most especially at home through the use of

technologies present. (Gajendran and Harrison 2007; Grant et al.

2019)

The main objective of the study is to analyze the safe

filming procedures utilized by the local independent filmmakers

during the pandemic. The knowledge, mentality, and methods of the

people as they venture in mitigating COVID-19 through new-normal

filmmaking, the specific objectives are hereby derived.

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One, this study is to determine the current modifications

and adjustments of the filming procedure to the operations of

local independent filmmakers in mitigating COVID-19. Also, it

aims to study the factors affecting filming procedures of film

production, examining validation and ammunition of the artists’

and workers’ safety during the film tapings.

This research study will be beneficial firstly, to the

students. Through this, learners will gain knowledge of how

filmmakers and the production create films. Amid the pandemic

that is currently being experienced, the researchers intend on

providing safety measures and protocols observed by the film

production themselves, and seeing how it affects their mentality,

and methods.

Furthermore, this will add contribution to film enthusiasts,

aspiring independent filmmakers in the country, as well as both

the traditional and the new media community. With this study, not

only will people be open to the idea of new ways of how filming

is being done, but also, this research will be a scheme for

creativity and will feature new methods during this current

time.

This research is necessary in order to accurately facilitate

the existing filming procedures and methods of the filmmaking

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industry in order to mitigate the COVID-19 pandemic. This is to

further unveil and understand the strategies being carried out

during film productions. It opts to discover the changes in the

production techniques, processes, genres, and modes of

filmmaking.

This study will also help to eradicate the hindrances and

oust traditional filmmaking during the COVID-19 crisis. This is

very significant in order to secure the health and safety of the

production team, artists, and other workers involved throughout

the entire process. This study is of significance and interest to

various stakeholders since it facilitates further research on the

effectiveness of filmmaking which opens room for new

opportunities and improvements for future use.

Additionally, the study provides baseline data that assists

people to carry out similar studies among other organizations

where the business environment is similar. The study also assists

businesses to build various partnerships between their company

and their chosen film industries. This research also aims to

serve as an indicator to potential promotions and companies of

how they can tap into the market niche via film projects and

advertisements. The study will improve the knowledge processes

and consolidate the field of filmmaking.

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Theoretical/Conceptual Framework

Uncertainty Reduction Theory

The COVID-19 pandemic has limited face-to-face interaction

with certain people. As the virus continues to spread, the

current handling of the crisis has created a barrier between

people, a situation where face-to-face interpersonal

communication creates unease, on top of a person’s unique

background, biases and upbringing. This theory addresses how

communication is handled in the current situation of the

pandemic, seeking patterns in human interaction to analyze a

better handling of the situation.

As protocols have been implemented, people have found ways

of proper face-to-face interaction all while reducing risk of

contracting COVID-19, and balancing interaction that leads to

contact in how cases peak and drop, dictating on people’s

behavior that leads to rising cases. Familiarizing with the

people defines how people could handle the current situation, and

how it could fit their agendas and find a common ground.

The theory revolves on adapting to situations when

interacting with strangers or with established relationships that

have a certain factor of uncertainty. The more information is

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gained, the more the veil of uncertainty is removed through

developed changes and the like, ranging from behavior to external

factors. Uncertainty reduction is the act of making sense of

something initially thought of as uncertain (Redmond, 2015).

The pandemic has created an unsafe space for interpersonal

communication, limiting on how general film production is

executed. The processes have to continue functions, and as such,

limitations are made, to create a possibility for functions of

audio-visual production to continue while limiting viral spread.

The study aims to analyze the limitations and strategies

conducted for these productions and projects to have the outputs

that it does.

Uses and Gratifications Theory

The film production continues its function amidst the

pandemic, creating some form of new content for viewers. The goal

of these industries is to continue delivering entertainment en

masse - to please their intended and targeted audiences.

The theory is applicable to this industry, in which it

explains the audience actively seeking content from them. It

explores what the audience seeks for in varying forms of needs,

and the motivations they gain from consuming those needs. Big

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DURING THE PANDEMIC IN BAGUIO CITY

network conglomerates use online outreach by extending the reach

of their content through online mediums and social media

networks, either through YouTube, digital streaming services, or

their own online sites.

The needs the audiences seek creates positive effects

towards them, therefore gratifying their needs. Continued flow of

gratification will motivate them to continue. These factors vary

from social interactions up to consuming the content itself

(Bakar et al., 2014). The audience themselves are assumed that

they know what they seek for in content.

Content creation from the networks is continued beyond

business reasons. The audience seeks new entertainment according

to the needs they satisfy with entertainment, notable for the

operations of film and TV productions, where they are likely to

gravitate towards. The pandemic became an opportunity for

networks to further branch out to online mediums, furthering

their own reach.

Actor-Network Theory (ANT)

The practices of the protocols have been observed and

maintained since the stricter measures have loosen and opened for

general use. When it loosened, these practices have changed and

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adapted to the state of the health crisis. Moreover, the spread

of information and medical advances have eased the practices and

measures further. The practice of people acting upon ideas and

objects to create a system that can work and adapt to a certain

situation.

The Actor-Network Theory is noted for its connections with

the established practices that were created for living amidst the

COVID-19 pandemic. A system of connections created to parse out

the failed practices and shortcomings, and establish the

practices that worked alongside the technologies and devices that

come with it. This system is known as a connection of human

interactions, non-human devices and ideas, connecting to create a

network system in response to adaptation to a certain

environment. According to Latour (1996), it is all a connection

between these aspects and connecting itself with society, with no

in-betweens, allowing shifts within society.

Protocols and measures shift depending on the progress and

efforts of the people, advancements in the medical sciences and

as well as strategies proposed by the authorities, government

units and other establishments. Measures and protocols observed

within local film production have been adapting with the advent

of new measures such as vaccination. The study aims to see the

significant changes of the measures taken, as well as if any will

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be adapted beyond the COVID-19 Pandemic. The measures formulated

that have been developed through societal observations and ideas,

and as such, will continue to develop as the situation

progresses.

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Paradigm of the Study

INPUT PROCESS OUTPUT

The health and Online interviews The interpretation

safety protocols through video of how health

being observed by conferencing (Zoom, standards, safety

filmmakers and film Google meet, video measures and methods

producers during the call on Messenger) for COVID-19

pandemic Prevention affect

local film

Understanding the Descriptive production,

factors that exploratory method, distribution and

influences local collection of data profitability.

film production and from a prepared

distribution within interview guide

the COVID-19 specialized for

Pandemic local filmmakers.

Presentation and

analysis of data

interpretation of

results.

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Statement of the Problem

The fundamental goal of this study is to uncover and

comprehend the health and safety filming procedures being

utilized during film production at the time of pandemic. The

knowledge, mentality, and methods of local independent

filmmakers, as they venture to mitigate COVID-19 through the new

normal filmmaking. In addition, further comprehension of the

elevated protocols that are specified to conduct a production

shoot. It is also imperative to consider whether this strategy

will be effective for future productions. Media-sharing platforms

and a documentary will also be used to further communicate the

significance of this research.

Specifically, this study endeavors to answer the following

pertinent questions:

1) What are the factors influencing the independent local

filmmakers to operate amidst the risk of the COVID-19 pandemic?

2) With the current modifications of the filming procedure, how

do independent local filmmakers thrive?

3) How profitable are independent local films during the “new

normal”?

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4) How do independent local filmmakers’ awareness towards the

health and safety protocols affect the knowledge, mentality and

methods they utilize during the “new normal” film making?

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Chapter 2

DESIGN AND METHODOLOGY

This chapter discussed the research design and methodology

to be used. The approach, the population and locale of the study

described the people that participated in the study.

Research Design and Methodology

The study utilized an explanatory design. The subject of the

research study, the health and safety filming protocols for

independent local filmmakers is a mechanism for the filmmaking

industry to resume during the COVID-19 pandemic. As such, the

mechanisms, aspects and the overall concept of this were new and

current to the adaptation of the filmmakers to such protocols.

Also, the study aimed to explore the aspects and mechanics of

film production and its adaptation to dynamic health protocols

and rules as the pandemic progresses.

This research study used a qualitative method using a

descriptive approach in gathering presented information about the

current condition of the independent local film production during

the pandemic. According to Nassaji (2015), qualitative research

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involves a rich collection of data from various sources in

gaining deeper understanding of individual participants that

includes their opinions, perspectives and attitudes. This method

included an inductive exploration of the data in identifying

themes, patterns, concepts, and interpreting the information

being gathered. With this, the researchers used a set of

questionnaires, online interviews, and an observatory.

Furthermore, utilizing the descriptive method focuses on methods

such as proper analysis, interpretation, comparisons,

identification of trends, and of relationships (Aggarwal, 2008).

As what has indicated in this study, this chapter includes

the research methodology of the dissertation. In this section,

the researchers went through the research strategy, research

technique, research methodology, data collection methods, sample

selection, research process, kind of data analysis, ethical

issues, and project study limits in further detail.

The research conducted for this study was applied research.

Ever since the COVID-19 pandemic started, independent local

filmmakers coped and resumed to operate amidst pandemic. This

study facilitated further research into the success of local

independent filmmaking, allowing for new possibilities and

enhancements in the future. As a result, the suggested study took

the shape of the new-normal processes, methods, and mentality

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associated with the existing health and safety protocols

mitigating COVID-19.

For the aim of the study, an inductive research approach was

used. According to this approach, researchers begin with specific

observations, which are then used to generate broader ideas and

study results. The inductive approach was chosen because it

considers the context in which research is being conducted, and

it is also best suited for small samples that yield qualitative

data. The fundamental drawback of the inductive approach,

however, is that it generates generalized hypotheses and

conclusions based on a small number of observations, calling the

credibility of research results into doubt (Denzin & Lincoln,

2005). Descriptive, explanatory, and exploratory research can all

benefit from interviews. An interview was chosen for this study

because it impacted the findings on the public at large. This

design was chosen to suit the study's objectives, which were to

assess current changes and adjustments to the filmmaking

technique to the operations of the filmmaking and audio-visual

industries in minimizing COVID-19.

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Population and Locale of the Study

The respondents of the study are the local independent

filmmakers that are based in Baguio City. They are one of the

groups who not only apply such methods to conduct film shooting,

but they have also strived to still pursue in producing films

even in the midst of a pandemic.

The researchers focused on studying how they produce films,

whether they follow specific health and safety protocols or not.

They are the people who currently are in the field and have

worked hard in order to cope with the new-normal. They are

qualified to be the subject of our study as it identifies the

local independent film population.

The collection was done through mixed interview methods such

as scheduled face to face interview, online video conferences on

Zoom and Google Meet application, and online messaging platforms,

conducted during the respondents’ available time. Due to the

current state of the COVID-19 pandemic, face-to-face interactions

for data collection are limited. As such, online and electronic

methods are ample for researchers to accomplish and collect.

Researchers prepared a questionnaire distributed to and

accomplished by the interviewees.

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The following participants that were chosen by the researchers

were specifically the ones that are currently practicing their

profession as independent local filmmakers during the pandemic.

The respondents only come from Baguio City, showing the specific

health filming protocols being observed. Media practitioners who

happen to shift with other job opportunities from the start of

the pandemic are not qualified to supplement the study.

Unauthorized independent local filmmakers, practitioners who are

not licensed to operate are not adequate in the study. The halt

operations of unauthorized media practitioners will not be

allowed to participate in this study.

Data Gathering Tool

A phenomenological design was utilized in order to gather

explanation about the experiences of the participants,

specifically the local independent filmmakers from Baguio City

who have encountered and observed the health and safety protocols

set by the Local Government Units (LGUs).

Scheduled face-to-face and virtual interviews with local

independent filmmakers in Baguio City were utilized to collect

research findings. The researchers used a set of questionnaires,

and the responses made by the respondents were captured via audio

and included the relevant supplementary information.

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Two components of the questionnaires were used in this

investigation to find data that was relevant to the study.

To acquire useful data, researchers employed open-ended

questions.

Part 1: Local Independent Filmmakers’ Knowledge, Mentality and

Methods During the “New Normal” Filmmaking

This section consisted of three sections. It consists of a

series of questions regarding the knowledge, mentality and

methods during the “new normal” film making.

The knowledge component aimed to learn about the

contributors' experiences and obstacles in using their expertise

throughout the production of "new normal" films. The mentality

part was created to assess respondents' enthusiasm to discover

and learn about the current modifications being made as they go

through "new normal" filmmaking while adhering to statutory

health and safety procedures. The purpose of the method section

was to learn about the respondents' techniques and perspectives

when it came to filmmaking. These three sections used a series of

open-ended questions to allow the researchers to delve deeper

into the research study and acquire pertinent data.

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The responses of the respondents were crucial in the study's

progress. It aided the researchers in evaluating and identifying

data to be interpreted using Interpretative Phenomenological

Analysis.

Part 2: Additional Exploratory Questions

This section included questions on challenges and roadblocks

faced by local independent filmmakers, which were answered

descriptively and thoroughly by them. It also includes questions

aimed at eliciting the respondents' opinions and suggestions on

the emergence of "new normal" filmmaking.

Data Gathering Procedure

Researchers have developed request letters, consent forms,

and interview guides for local independent filmmakers in Baguio

City that were approved by the Adviser prior to the interview

process. During the session, information will be collected using

scheduled face-to-face and virtual interviews in accordance with

COVID-19 policy. The interviewees conducted the discussion

depending on the respondents' free scheduled time, using a camera

to record, structured questionnaires, and a writing pad for

pertinent information.

Treatment of Data

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The researchers treated the collected data through the

method of coding.

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Chapter 3

PRESENTATION, INTERPRETATION AND ANALYSIS OF DATA

This chapter is concerned with the data presentation of the

findings acquired from scheduled face-to-face and virtual

interviews on the participants’ knowledge, modifications, and

insights towards the new normal filmmaking during the pandemic.

These are relevant to the adjustments made during the filming

duration of the local independent filmmakers in Baguio City as

health and safety protocols are mandated.

Three superordinate themes derived from the interpretative

phenomenological analysis are presented. These are similar to the

descriptive details on the filmmakers’ observance of health and

safety protocols and other factors affecting their film

production. This aims to provide a rich descriptive account of

the current situation of the local independent filmmakers

situated in Baguio City. The themes are:

● specific health and safety measures being prioritized

● crossing borders and boundaries for production

● utilizing new technologies and bringing produced films

online

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Prioritized specific health and safety measures

Under this section, we bring attention to the health

priorities of the participants in handling their various

production teams for each project.

In a face-to-face interview with Mr. Ferdie Balanag,

Festival Director of the Montanosa Film Festival, he has stated

that they knew and have understood the proper filming guidelines

to be observed by them.

Actually, we already know the guidelines of the Film

Development Council of the Philippines in terms of the

health and safety protocols of the workers in the film

industry.

As stated in the Security Agreement Guidelines on the

Implementation of the Community Quarantine in the Philippines,

particularly on music, television and film production fifty

percent (50%) operations and maintenance capacity in areas under

Modified Enhanced Community Quarantine (MECQ) are allowed. Other

than that, flexible arrangements such as limited face-to-face,

scheduled filming and work from home are applicable. Operating

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organizations are constantly required to comply with minimal to

maximum extent of public health requirements. Furthermore,

notwithstanding, lifelong treatment against COVID-19 and the

accessibility of vaccines, it serves as the most efficient means

of impeding the escalation of the virus and to allay risks.

Well, they are all vaccinated and they are also required to

register in order to enter the city. Actually we already

know the guidelines of the FDCP in terms of the health and

safety protocols of the workers in the film industry. But

since we have an efficient system here in Baguio even

without reading the guidelines we already know that because

of our LGU’s who introduced it so early on.

With regards to the existing FDCP Guidelines, a local

independent filmmaker named, Nickson Bolla is seemingly agreeing

upon the adjustments. He is 22 years old, from the University of

the Cordilleras. Currently BA Communication Student and a part of

Studio Cupid and Tripod Productions. Director, Scriptwriter,and

Editor.

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GCQ/MGCQ: Pwede ng magshoot ulit, though limited to public

places. Iniiwasan ang crowded places. Naghahanap ng lugar

kung saan pwedeng tanggalin yung face masks and face

shield. Need to really comply with the protocols given by

the government.

Baguio VIS.I.T.A. (Visitor Information and Travel Assistant)

is an online registration system for Baguio tourists and

travelers that has been funded by the Department of Tourism and

Tourism Promotions Board.Baguio VIS.I.T.A. was crafted as an

overall information medium that can govern entry and supervise

transportation of tourists through a booking system using a QR-

coded Tourist Pass (QTP), whilst at the same time incorporating

the city's health and safety protocols, from imposed triaging up

to digital check-ins for contact tracing. Through a ticketing

system using a QR-coded Tourist Pass (QTP), and at the same time

implementing the city's health and safety protocols, from

mandated triaging up to digital.

Mr. Karl Glenn Santiago is a new and aspiring filmmaker who

has been making films during the pandemic, creating short

documentary films here in the Cordilleras titled, Under The

Cordilleran Skies. Director of Manso - mining in the Cordilleras,

Taste of the Highlands and Bibingka which won various awards at

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the Montanosa Film Festival 2022. He emphasized that filmmaking

in “new normal” is hard. Creates short documentary films here in

the Cordilleras titled, Under The Cordilleran Skies. Director of

Manso - mining in the Cordilleras, Taste of the Highlands and

Bibingka which won various awards at the Montanosa Film Festival

2022.

Hard, because many protocols na need asikasuhin. You need

to process certain permits. Health declaration forms.

With the health protocols., it was very hard, kasi walang

documents na maipakita. He needed to process government IDs

to get clearance to pass through checkpoints, in order to

abide with the protocols.

Miss Denielle Baltazar also shared her experience following

the FDCP guidelines.

Actually. Pinakamalaking challenge talaga namin diyan is

yung mask, mask talaga. Kasi may mga scene na kailangan

naming i-emphasize yung facial expression ng character

namin pero di namin magawa kasi sa certain place na ‘yon

hindi pwedeng magtanggal ng mask, hindi ka pwedeng maglakad

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ng wala kang suot na mask, and then hindi kami pwedeng

magkumpulan,

The Film Development Council of the Philippines (FDCP)

established predetermined regulations to be implemented and

followed by film and audio visual companies/dependents. Whereas,

all film and audiovisual company workers, which include staff,

regardless of employment status and independent

contractors/freelancers. Various forms of film and audiovisual

content, all production stages, venues, including on-location,

studios, and other locations must undergo identified protocols.

Vaccinations in relation to the production mid-pandemic

In relation to what Mr. Balanag has stated, Jerusalem Ham, a

Baguio-based independent filmmaker, who produced various

narratives and films commended that getting vaccinated is a huge

factor during “new normal” filmmaking.

Kailangan big factor talaga samin yung vaccinated, kasi

kailangan umuwi ka parin ng healthy. Hindi lang naman yung

isang taong umuwi na iyon, mag-isa sa bahay, may inaalagaan

din iyan. Di mo alam kung mailipat sa sa lola niya, ganoon,

syempre, kapag nalipat iyan sa lola niya, tas biglang

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nawala, tas kasalanan mo pa ganon, ayun, so kailangan big

deal yung vaccination. Ayun, get your boosters, please.

Nickson Bolla also agrees on the importance of getting

vaccinated. He seems to reiterate the fact that getting

vaccinated impacts production and that being healthy is a

priority.

Helpful at least, remind me that you are vaccinated.

Vaccination serves as a way to lessen the risk of catching

the virus. Lessens worry, knowing that you are vaccinated.

Shooting for Montanosa, editor, getting the role of an

Actor, nagka contact tracing siya, and need na mag shoot

tomorrow. Need to be adjusted yung mga rules ng actor, In

order to assure the safety, quarantine and self-isolation

was being done.

As for Miss Denielle Baltazar, she has shared her experience and

said;

Kasi nung finilm namin yung film ni Direk Erik Matti na

‘yon, lahat kami required na magpa swab test bago kami

maging part ng film, lahat kami required na maging negative

bago kami maging part ng film, and then iniiwasan din namin

yung ma-public yung shoot namin kasi that time, hindi pa

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ine-encourage na mag shoot ng film before kasi sobrang

higpit pa sa crowd, yung maraming tao ganon, kaya hindi

namin pwede ipublic na nag sh-shoot kami, kailangan naming

itago. And then hindi ka makapag shoot whenever we want,

wherever we like kasi limited yung travel, yung location,

and then, kasaganahan nung mga curfew non so kapag nag re-

retake kami nang nag re-retake, and then hindi namin makuha

yung tamang act siguro o yung tamang scene, kailangan namin

siyang i-limit kasi hinahabol namin yung oras, kasi hindi

kami pwede tumagal ng hanggang 1AM, 12AM, ganyan, kasi

kailangan na kaming pauwiin, kasi hindi na kami papayagan,

ganon, ganon yung mga naging hirap sa pag fi-film during

pandemic talaga.

Denielle Baltazar is very glad and is open to COVID-19

vaccination and has mentioned that it is a great value for an

independent local filmmaker. Health and safety is the key for an

efficient filmmaking production in this “new normal setting”.

Ahh, dapat lahat kami vaccinated. Lahat ng sasali na

finalist dapat vaccinated, yung buong prod team dapat

vaccinated, dapat lahat negative sa swab test mga ganon.

Kung present kayo don sa mismong event, lahat hindi ganon

magkakadikit sa place kasi ino-observe pa rin natin yung

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social distancing. Tapos ino-observe pa rin natin na hindi

tayo maging cause ng pag spread ng COVID dito sa Baguio,

kailangan mo ng certificate na vaccinated ka, yung buong

prod team mo kailangan mong isend yung vaccination card

nila bago matanggap ang application niyo na maging part na

makasali sa Film Festival.

Para hindi kumalat ang COVID kung sakali mang merong may

COVID samin atleast hindi maisasama. And another thing is,

mas maluwag siya kung lahat kami vaccinated don sa lugar na

‘yon. Kunwari ang setting namin is nasa loob kami ng bahay

or closed area, free kami mag tanggal tanggal ng mask, free

kaming gawin, ishoot yung mga kailangan naming ishoot, ng

hindi masyadong iniisip ang pag spread ng COVID-19 kasi

confident kami na lahat kami vaccinated, lahat kami

negative, hindi namin mai-spread yung COVID don sa loob

mismo ng production tea. Kaya yun yung importance na lahat

kami vaccinated dapat.

She also stated that during the course of “new normal”

filmmaking” getting vaccinated is a must. Thus, it is a major

requirement.

Ngayon naman hanggang ano lang naman sila, second dose.

Basta meron ka na yung card, may proof ka na na na-vaccine

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ka, pwede mo nang gamitin ‘yon as proof na pwede ka maging

part nung Film Fest…

Making the adjustments to encourage “new normal” filmmaking

thrive amounts for future success and development of the

filmmaking industry in accordance to a healthy and safe

production especially at this time.

Miss Baltazar stated;

Actually ang pinaka priority talaga namin diyan bago yung

story, bago yung concept, bago yung lahat, is yung health

nung lahat. Siguro hindi kami masyado dun sa- sabihin na

nating moral para lahat safe, pero more on sa technical

side kami, kaya namin pina-prioritize yung health ng lahat.

Dahil una, of course ayaw naming ma-COVID kami and hindi

kami maka produce ng film. So dun kasi umiikot ‘yon eh,

pina-prioritize namin yung health ng lahat, na sumusunod

lahat sa protocol, na sumusunod lahat sa requirement na

dapat vaccinated lahat, dapat negative lahat sa swab test,

para smooth yung daloy ng pagfi-film namin, hindi kaming

ma-disqualify, and at the same hindi kami ma-stop sa pag

sh-shoot ng film dahil lang sa may nag positive samin, or

dahil lang sa may nag-alangan samin na kailangan naming ma-

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quarantine ng 14 days. So bago namin maharap yung mga

problema na ‘yon, inuuna na talaga namin na i-prioritize na

dapat lahat kami negative, lahat kami safe, lahat kami

vaccinated, and then yung mga place na pupuntahan namin mi-

make sure namin na safe kami doon kasi ayaw namin na during

the shoot ganon, or pag nabuo na yung shoot meron palang

mag pa-positive samin, then hindi namin mae-enjoy yung

buong process ng pagfi-film. Kasi sa pagfi-film naman yung

process naman talaga yung ine-enjoy mo hindi naman yung

result, hindi naman yung awarding, yung pag process talaga.

So during the process, ayaw namin magkaroon ng problema,

ayaw naming magkaroon ng iisipin, kaya uunahin namin yung

mga bagay na kailangan i-prioritize talaga namin and which

is yung health talaga.

Crossing borders and boundaries

Most of the filmmakers being interviewed have shared how

they have adjusted and at the same time, the resumption of their

production operations in spite of the present pandemic.

Mr. Ferdie Balanag, the Festival Director and Ideator of the

Montanosa Film Festival expressed that making films during this

time was ‘definitely’ challenging with all the restrictions and

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border controls. However, this did not hinder the filmmakers’

passion and drive to create films.

We had to actually find ways. Actually, there are times

where they saw it even as a solution to break the protocols

which we couldn’t stop them from doing. Because as

filmmakers and artists they strive to achieve their vision

for their projects and if it means crossing borders without

the permit, they still do it.

Similar to what Mr. Balanag has stated, Flynn Mendoza, an

amateur independent filmmaker who produced the films, “Litrato”

and “Iitaw” has mentioned specific adjustments being made in his

films.

In terms of the film “Litrato” we adjusted the script,

story, location, as well as the actor. It was supposed to

be a two (2) character film. In times of pandemic, we have

two (2) factors to consider: to adapt and to adjust,

because we have preparations especially in filmmaking –

even if you are prepared there are circumstances that might

happen.

With the released guidelines by the Inter-Agency Task Force

(IATF) on the Nationwide Implementation on Alert Level System for

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COVID-19 Response on February 27, 2022, establishments and

activity such as the film, music and television production shall

be allowed to operate following the target capacity considering

the venue and individuals, whether they are vaccinated. It must

be subject to the joint guidelines issued by the Department of

Trade and Industry, Department of Labor and Employment (DOLE),

and the Department of Health.

Unpredicted circumstances usually occur particularly when

Alert Levels in Baguio City abruptly changes that filmmakers need

to compromise. Due to the unexpected threat brought by the global

disease, having the need to delay the shoot or film it in

advance, only for the production to be made possible.

Also, Nickson Wayne Bolla, a 22-year old local independent

filmmaker, experienced that their production, Studio Cupid needed

to be flexible about the sudden change of Alert Level in the

City.

Another thing siguro is yung mga announcement, like, Alert

Level 1, Alert Level 2, yung mga ganun. So, yun din yung

nagiging challenge. For example, kailangan naming magtravel

outside Baguio tapos biglang nagkaro’n ng Alert Level 2, or

3, nal-limit na yung transportation. Dahil dun, naaadjust

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yung scenes and mga settings na kailangang ishoot. Kaya

minsan, gumagawa ka ng paraan, iniiba yung scene, Kung

hindi, maghahanap ng lugar na pareho dun sa scene.

Shem Padua, an amateur filmmaker, has experienced issues she

encountered specifically with the location to be taken place of

their production, as well as how she adjusted with the unexpected

circumstances.

The only issue that I have encountered was the scheduling

of traveling from Baguio to La Union as well as the travel

we had to Ilocos Norte because it was supposed to be in

early January but then, Omicron variant entered the story

and we had to move around the end of January. The

submissions of the output for the Montanosa Film Festival

this early February. Your creativity should be quicker than

the usual and adopt with the situation. There are clips or

things that you need to not include due to the lack of

time. We had to adjust the schedules. We had to talk with

the officials involved.

What we did, we just adjusted and went to another side of

the road which is actually nice and appealing. The

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challenge was the unexpected circumstances that would make

or break your plan.

According to her, at times, independent filmmakers needs to

be more creative and to “think outside the box”, not losing hope

with the outcome and deciding to make a scenetic clip.

Aside from this, Karl Glenn Santiago also known as, The

Formulator, an aspiring film and content creator, speaks about

the effect of the pandemic to him — that in order to cope and

adapt with the current environment he is in, he had to learn

things for himself.

In production, dapat matuto kang magsulat, magdirect You

should learn angles. Kasi, hindi ka rin makakakuha ng

maraming tao… at the same time, you need to find your own

crew, find camera, and so on.

Utilizing new technologies and bringing produced films online

Under this section, we draw attention to the participants’

experience on how they go through the pandemic using the

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available sources for the films to be produced and for the

production to be sustained.

The pandemic created a different scenario that the local

independent films are accustomed to. It was unavoidable that

members of their respective production teams would be separated

from their base city and even living in their own provinces.

Everyone of them, having their own living conditions to attend

to. The filmmakers compromised with the use of instant messaging

platforms such as FaceBook Messenger and Viber, video conference

platforms such as Zoom, and collaborative outlets such as Google

Workspace. Mr. Jerusalem Ham, a Baguio-based independent

filmmaker, shared his observations and experiences on the outlets

of communication utilized:

Yung nakita kong way of communication talaga ng mga

production team is through Viber and Messenger, kasi yung

mga iba, di gumagamit ng Facebook. Before the pandemic,

mahirap tawagin yung team, kasi hindi lahat available.

Tapos during the pandemic, ang maganda doon, is pwede mo i-

chat lang, “Uy bro, ito yung progress natin sa film natin,

can you guys check this out?

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The common method of distribution utilized for independent

films has been streaming through Facebook and YouTube, as usage

of social media rose during the COVID-19 Pandemic. This method is

utilized for reaching a wider audience. Ms. Baltazar and Ms.

Padua shared their observations on the popularity and

distribution of films throughout social media:

Ms. Baltazar:

Marami ka nang makikitang mga short films na ginagawa ng

mga independent filmmakers na nilalagay na rin nila mismo

sa Facebook dahil ngayong pandemic. Tumaas yung dami ng tao

na talagang babad, so mas effective din talaga yung pagpo-

post ng mga films dito. Marami ka nang makikitang mga short

films na ginagawa ng mga independent filmmakers na

nilalagay na rin nila dahil ngayong pandemic, tumaas yung

rami ng tao na talagang babad.

Ms. Padua:

You can also use Youtube, and other online platforms, the

fact that it offers monetary and pay per view credits.

As lockdowns have eased with time, another method presented

for local independent filmmakers in presenting their independent

films is personal and exclusive screening, through means such as

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schools and other community functions, where local and focused

communities will come together for a specific film viewing, as

negotiated by their officials. Ms. Padua accounted on this

option:

One way is that you can also have personal screening where

you can approach communities to show the film. You can also

show the film in schools, one or two will do but you can

also send a proposal to Dep-Ed to freely conduct

screenings. You can also upload on FilmFreeway, and from

there you can actually join various film festivals.

Developments of the new method of filmmaking

An effect the pandemic created is the encouragement of

creating short films with the available resources such as their

smartphones and the accessibility of online video sharing.

Aspiring filmmakers are encouraged and validated through using

social media to create their own form of content,and is

encouraged even through various film festivals that allow a

showcase. Denielle Baltazar shared her accounts on the demand of

entertainment within the peaks of the COVID-19 Pandemic, where

many would be spending whole days at home under lockdown:

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Since lahat tayo nasa bahay, and humahanap tayo ng sari-

sarili nating entertainment, videos, rumami nadin yung mga

taong gumagawa ng short film dahil ngayon pwede na tayong

gumawa ng films using our phones eh.

Jerusalem Ham added his sentiments for the Montanosa Film

Festival adding a category for mobile films, films made with

smartphones, in 2022, which lead to many younger participants

applying and submitting their pieces, taking it as a sign of

interest from the younger generation:

This year, gumawa sila ng mobile filmmaking, and then ang

daming sumaling high school and college students, which I

think mas nainspire na silang magpursure ng filmmaking dito

sa Cordillera.

Film Festivals have become common on the hike of the

pandemic coming through the settlement of the protocols and

enforced health standards. These Film Festivals encourage the

production of films and stories, where their films are

broadcasted to a wide audience accompanied with special

recognition.

Mr. Mendoza recalled on how his film, entitled “Litrato”,

entered the Kima Film Festival, and shared on how these film

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festivals began an opportunity of wider distribution and

recognition of the film and the team behind it:

The film, “Litrato”, was included in the KIMA FILM FESTIVAL

(KFF) organized by the climate change commission with OML

Center. It is a digital film competition wherein they

invite amateur filmmakers to create films with the theme

“Climate Change”. They tend to get to know creatives that

will make films for the environment to send a message for

climate actions. They stream it on I Want TV for a limited

time since it is a finalist and was nominated for Best

Cinematography. And also it was streamed via Facebook Live

during the screening. It was under a contract with KFF for

a year that is why it is limited. Sooner or later maybe we

can publish it on online streaming platforms like youtube,

VIMEO, and maybe FDCP website if possible.

Collaborative nature of pandemic filmmaking

The collaborative nature of filmmakers has changed

throughout the transitions of incorporating protocols and the

health standards, dealing with the nature of separation for

creative media that requires massive collaborative efforts as

independent films. Many events, film festivals and workshops have

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taken to the online landscape, reaching to many with its

audience, and creating methods offline for collaboration and film

distribution. Below is the accounts of Mr. Balanag, sharing his

insights on the many platforms and possibilities taken as

alternatives to the indoor theater:

The online platform was a channel for broadcast. This is

where we showcase the workshops held online, screenings,

but aside from that we also had outer screenings which we

tried to promote since we are incapable of going to the

cinemas or an enclosed venue. We came up with a drive-in

theater at the Loakan Airport, people would come in and

drive in with their cars and watch inside their vehicles

which limits the contact of everyone in the area but still

enjoying the film shows in a drive-in cinema setting.

These tools are utilized in the way that the production

teams can adjust to, for themselves. The adjustments taken to

incorporate filmmaking during the pandemic takes have been shared

as challenges for a sizable part of the production process, and

can limit what the production team can see. Creativity is often

sacrificed for the sake of adjustment to the protocols set by the

community.

Mr. Ham’s following statement is how when separated, team

members are caught with their home responsibilities and other

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factors amidst working on post-production, which limits input and

feedback from the whole team:

Yung maganda before the pandemic, is talagang nag-br-

brainstorm kayo under one table, and then during the

pandemic, hindi mo magfofocus, kaya maganda na magkakasama

kayo during post-production, para makikita nyo yung

progress ng film and naaadd nyo sa editing.

Ms. Baltazar stated how the minimum health standards and the

health protocols set by the local governments can shift the story

writing for a film, that even in production proper, even when

filming the scenes, these standards have to be followed:

Limited talaga ang nature ng filmmaking ngayon compared

before na kahit kapag may naisip ka nang story, may naisip

kang lugar kung san mo gustong i-shoot yung film mo, may

naisip kang character, may naisip kang scene, pwede mong

gawin lahat ‘yon eh with proper ano- gagawa ka ng letter sa

mayor para ganyan, mabilis lang. Pero ngayon very limited

siya kasi kahit makagawa ka ng napakagandang story, kung

yung story mo hindi siya possible na magawa sa new normal

natin ngayon na may mga mask na, may mga protocols na, may

mga kailangan requirements like vaccination and everything,

and mga swab test, mali-limit talaga yung creativity nung

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filmmaker at yung story na ginagawa niya dahil sa mga

protocols dahil ngayong new normal.

In Baguio’s film landscape, The Montanosa Film Festival is

one of the most prominent events as a film festival encouraging

the creation of films during the COVID-19 Pandemic, going beyond

the restrictions and borders to promote quality and to ignite

passion to the aspiring filmmakers residing in Baguio City.

Indie films: profitable?

The profitability of filmmakers varies from how they are

distributed, and how they are handled. Within the pandemic,

sources of income are limited in some ways, and filmmakers are

placed in a situation that would allow them to explore their

abilities in other fields. With films taking much funds between

equipment, venue and talents, expecting a return of investment

becomes unclear.

Mr. Ham advises flexibility and versatility when finding

profitability, engaging with other forms of production, such as

for commercials and events like weddings, for bringing

recognition to the name, and fitting in many molds for profit

sources:

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It will be profitable if you’re a filmmaker for

commercials, wedding filmmaker, ganyan, kasi mas nageexpose

mo yung skills mo sa people, and mas madali maaccess ang

mga tao ngayon. Imemessage mo lang, “sir, magkano rates

mo?”, "magpapagawa sila ng video.” It will be profitable

pag hindi ka nagfofocus sa isa,so you need to explore what

other things you can do sa filmmaking, hindi ka lang dapat

nagfofocus sa passion na kailangan na magcollect ka pa and

then ikaw ang magfund, hindi mo alam kung magkakaroon ka ng

return ng investment sa film na iyon.

There are methods where it is possible to profit from

monetization in social media and advertisement, which is tied to

the quality of the film, where the story goes and how far the

team promoted it. These films are what will bring recognition and

possible monetary rewards.

Mr. Mendoza shares the importance of bringing creativity and

proper promotion of the film:

As a filmmaker, to make it profitable maybe you need to

promote your film efficiently and bring your creativity.

Creating a film is not just about creating a story, it

should be realistic. Be creative and market your films

properly and effectively. It all depends on the filmmakers.

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Mr. Ham then adds on the focus on story, and presentation:

If you’re gonna make a film, mas magandang magfocus ka sa

story and isipin mo kung paano mo ipapakita sa audience,

doon ka magkakaroon ng profit, iyan yung mananalo sa film

festival, iyan yung pwede mo maidala sa ibang bansa, yung

pwede magkakaroon ka ng return ng investment, yung sayo at

sa team mo.

Film support is difficult to garner, especially when the

pandemic has limited the income of many, when filmmakers prepare

their possible expenses alongside their intent in making films,

before beginning pre-production. However, opportunities have

arisen within the pandemic, namely on how far the audience reach

goes with social media premieres and streams and the common

practice of film festivals for local areas.

Ms. Baltazar shares her account on how these opportunities

can bring out the possible return in investment, alongside

recognition in the film landscapes that come with it:

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Yes, kasi ngayong pandemic, nagsisi-litawan yung mga film

fest, dumadami yung mga opportunity para sa mga independent

filmmaker, dumadami yung mga platforms na pwede naming

paglagyan ng mga short films namin, na binibili ng mga tao

yung ticket para mapanood, so mas profitable siya saming

mga independent filmmakers ngayon kasi dumadami din yung

audience, dumadami din yung taong gustong may mapanood kaya

mas lumalaki yung demand sa film, mas lumalaki yung demand

sa mga filmmakers ganyan.

Ms. Padua advises that preparedness, and canvassing and

budgeting of funds is an important factor in preparing for film

production, knowing that film production can become costly before

beginning the production proper, while the collaboration, and

available tools can be found in many places:

If you're making a film you need to be financially ready.

Although these days having a mobile phone and barkada lang

and you are collaborative. It is possible to make a film

and get a chance to win cash prizes.

Profitability of any form of art is questioned often,

dismissed as passion projects, products of menial hobbies or

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simply put, inferior to the income from the gold-collared jobs

sought-after by many. The time of a pandemic places more focus on

essentials and basic needs, and films do not fall into those

categories. Independent films suffer from getting their own funds

out there, but it is often compensated with demand for

entertainment, how people actively seek out films at many points

in time and many platforms. As such, with consistent quality,

audiences will be more inclined for support.

Mr. Bolla’s statement shares on how demand and support

influences the profitability of a film:

Siguro, oo? Kasi since, may naquarantine, more on nanunuod,

through Netflix, or other platforms. Nadivert na mga

attention ng mga tao to entertainment. With the indie

films? Depends on your connection if it is on mainstream

media. For me, somehow, pero, konti lang ang naprofit.

Konti lang ang dumalo and nakabayad.

Throughout the COVID-19 Pandemic, local independent

filmmakers became limited in their capabilities in many aspects

of filmmaking. They have shared their experiences in creating and

producing films amidst a time where travel is restricted, contact

is reduced to a minimum, and audiences have lessened from the

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previous methods of filming back before the pandemic began. These

local independent filmmakers have shown to see an opportunity

from what is laid before them, and adapted to the situation to

deliver quality independent films and celebrate the art of film.

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Chapter 4

CONCLUSIONS AND RECOMMENDATIONS

This chapter contained an overview of the research findings,

as well as the researchers' conclusions and recommendations.

Conclusion

In this study, we described the local independent

filmmakers’ perceptions of the COVID-19 pandemic and their

experiences while conducting scheduled film making during this

global crisis. This is the only qualitative research that we are

aware of that describes the methods, mentality and knowledge of

these filmmakers in the pandemic setting. The findings show that

local independent filmmakers have similar views on the

effectiveness of state institutions and information policies. All

of the indie filmmakers in the area are detailing the health and

safety measures that are applicable in this moment of crisis,

which is a good thing. During the COVID-19 crisis, most

filmmakers emphasize the significant danger of travel, difficulty

of fund allotment, and time frame scheduling. Fear of contagion

and concern for crew members is common in all filmmakers, which

is why they adhere to the instructions given by the government.

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Institutions are constantly putting in place precautions to

stop the infection from spreading. During the crisis, the

majority of them realized their responsibilities to the community

and the genuine value and risks of being a local indie filmmaker.

Filmmakers are just slightly concerned about becoming infected

when shooting "new normal" films, but they are quite settled due

to getting vaccinated. Although some are aware and do not have

the courage to get vaccinated, however, it is of the need of

gaining professional competency and originality by working in a

realistic filming environment, and work closely with the planned

setting of a film. Through filmmakers’ knowledge, methods and

mentality, one can perceive the impact of the theoretical concept

of professional identity in local independent filmmakers as they

adjust with the mandated health and safety protocols during the

pandemic.

Respondents describe the lack of resources, limited

creativity, and scheduling issues as a result of the crisis.

Local independent filmmakers' working organization and efforts in

this crisis are acknowledged, regardless of how difficult it is

for them. The mandated health and safety procedures are fully

supported by the filmmaking industry, and the postponement of

other schedules for "new normal" shooting is seen as a life-

saving option. They also believe that the government is

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effectively putting in place measures to protect filmmakers,

crews, and the general public.

Recommendations

The researchers drafted a set of recommendations based on

the study's overall findings for local independent filmmakers to

have a further development on “new normal” filmmaking.

Further Research on the Development of the Methods of Filming

Procedures and Protocols

As much as the researchers would want to explore more on

this study, the development of how a film production operates

must continue to be looked into and to be well-researched by

following agencies such as the Inter-Agency Task Force of the

Philippines (IATF) and the Film Development Council of the

Philippines (FDCP) on how it truly ensures how the development of

the Philippine filmmaking industry developed over the years.

A Handbook on the New-Normal Safe Filming

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Although information and guidelines have been made available

to various platforms online, producing hard copies that contain

the new methods of filmmaking will surely benefit the readers,

students and film enthusiasts in being aware of the changes and

new adjustments being brought about by the pandemic, and soon

after, to serve as a guide for future and aspiring filmmakers.

A Seminar/Webinar Series Discussing The Production Protocols

During the Pandemic

Through organizing an event where thorough discussions take

place not only involving the local independent filmmakers from

Baguio, but as well as inviting other filmmakers with big names

to speak of their experience and of wisdom over the years.

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