Get Camera-Ready: Meet Our Hair and Makeup Partner
How To
Professional HMUA services now available at Cande Studios!
We pride ourselves on delivering high-end productions where every detail matters, from creative development and filming through to the on-screen presence of our contributors. That’s why we’re excited to announce a new partnership with Alana Campbell, an award-winning Hair & Make-Up Artist (HMUA) with over 15 years’ experience across film, television, commercial and corporate shoots.
Alana has worked with some of the UK’s most recognisable names, including David Tennant, Phoebe Waller-Bridge, Suranne Jones, Idris Elba and Lily Allen, as well as on more than 30 productions spanning BAFTA- and Oscar-winning shows. Now, she brings this expertise into the commercial and branded content space, supporting our clients at Cande Studios with professional styling that ensures every subject looks and feels their best on camera.
Why we’re introducing HMUA services at Cande Studios
We’ve seen first-hand how professional hair and make-up elevates our work for major clients. Studio lighting shows everything, but with the right styling, contributors look polished, confident and on-brand. Alana’s presence on set delivers:
- Camera-ready confidence: Talent feel comfortable in front of the camera, which translates into stronger performances.
- Consistent brand storytelling: Whether the look is polished and luxury, raw and edgy, or natural and approachable, styling supports the brand’s creative vision.
- Efficiency on set: Quick changes between looks mean clients can maximise content days with multiple setups.
- Cost savings in post-production: Fewer retouches and corrections, resulting in stronger output straight from camera.
Alana spent some time at Cande Studios recently demonstrating the value that professional hair and make up can add, check it out here!
This collaboration is part of our commitment to making Cande Studios more than just a space to hire. We’re building a complete production environment where every element, from cameras and lighting to talent styling and set design, contributes to premium, impactful results for our clients.
Get in touch today to find out more candestudios@candegroup.co.uk
How to Light a Remote Space like a Pro
How To
When it comes to creating high-production value content, of course the cameras are a key component, but many don’t realise that lighting is the real hero. It’s one of the best-stocked parts of Cande’s kit cupboard and the secret to elevating our client’s work.
Filming in a remote location can be a bit like cooking a gourmet meal on a camping stove: challenging, messy, and occasionally involving duct tape. Whether you’re shooting a corporate interview in a far-flung facility, a dramatic scene in a barn, or a sunlit sequence on a windswept hill, precision lighting is still key. Here’s a sneak peek of how the well-versed Cande team approaches it.
Pack Smart
When it comes to remote shoots, your kit bag is your best friend, or your worst enemy if you forget the essentials. Always pack: a bounce board (to reflect light onto your subject); diffusion (to diffuse and soften the light); blackout material/flags (negative fill i.e. to remove the light); and black wrap (to block out any unwanted light sources). These are your “get out of jail free” cards for any tricky lighting situation.
Need to soften harsh sunlight? Diffusion. Want to block light to create contrast? Blackout material. Need to rig up something MacGyver-style? Black wrap’s your hero. Think of these as your lighting survival tools – lightweight, versatile, and perfect for crafting every shot.
Our client work takes us from studios where we have full control over every light source, to outside locations with varying shadows, to inside tractors, boardrooms and factories, and all of these tools prove immensely helpful, time and time again.
Plan for Power
Power capability can often be overlooked when you are focusing on the delivery of what the client wants. The first priority for any remote location filming should be a recce to identify what the power capabilities are, and what portable power options might be needed either as your main source, or as back up. Most LED lights run off big batteries such as V-mount or Gold-mount, but occasionally we need to think bigger and this needs planning.
Generators can be indispensable, however diesel and petrol ones are noisy. If you’re capturing audio, you’ll have to run cables from a far-off corner, which can prove tricky, and you will also need to get a dedicated ‘generator babysitter’, an expensive added cost. Portable solar generators are a better option. These eco-friendly beauties are quiet, compact, and powerful enough to run a suite of LED lights and charge your ever-growing pile of batteries.
Embrace the Sun
It might sound obvious, but when shooting outdoors, the sun is your biggest light source, however it can also be unpredictable. The perfect conditions are overcast skies when the clouds act like a giant diffusion frame, giving you soft, flattering light for free. Add in a bounce board to knock out shadows, and you’re golden.
But what about sunny, blue-sky days? That’s where it gets tricky. Harsh sunlight can be a nightmare, throwing unflattering shadows everywhere. If you’ve got a big diffusion frame, use it! No frame? Adapt. Find natural shade under trees, use the shadow of a building, or lean into dappled light for a more artistic vibe.
And if the clouds are playing hide-and-seek, prepare to hear the classic Doors number, “Waiting for the Sun” (the soundtrack of every location film crew!). For one shoot we did for NHS Leicestershire we managed to get a diffusion frame set up in a hospital garden for a series of interviews; something interesting for the patients to look at, as well as create the desired effect.
Get Creative with Key and Fill Light
Lighting doesn’t have to be textbook-perfect; it just has to make sense and look good. Pay attention to your natural light sources. If there’s a window on the subject’s left, don’t light them from the right, it’ll appear strange to the viewer.
When you’ve got the gear, experiment to get the perfect effect. A Book Light setup is a favourite for a reason: it gives you beautifully soft, even light, that flatters your subject. This is where you bounce a light source through a layer of diffusion, so there’s no direct light. Overhead Softboxes are another winner for controlled environments. On each shoot, depending on scale, we’ll bring a Director of Photography (DoP) as part of our crew. The DoP is responsible for establishing the lighting needs and designing the set-up.
Need inspiration? We once turned a farm grain barn into a panel show studio. Using a truss frame as part of the set design, we rigged a 12×12 overhead diffusion frame with three 600d LEDs as our key light, then used 300d LEDs for fill. For a pop of colour, we lit the grain backdrop with RGB LEDs in the client’s brand colours.
Know the Basics
Three-point lighting is a classic for one very good reason – it works. But it’s not necessarily going to give you that unique deliverable that will ‘wow’ your client. Once the Cande team has set up the core lighting setup, we like to push boundaries to create something truly bespoke and professional.
We experiment with angles, shadows, and textures, plus use practicals (such as lamps or candles) for added depth. Layered lighting makes the scene feel alive. And remember, a great lighting setup doesn’t just illuminate the subject, it also tells part of the story, and as such, becomes a distinctive part of the narrative.
Bonus Tip: Preparation means Confidence
Planning is an absolute must. Always recce your location, whether in-person or remote. It’s your chance to spot potential challenges (like where the sun will be at different times of day or any power supply issues) and opportunities (like natural reflectors or shaded spots). Being prepared and packing the best equipment you have, means you will have the confidence to not only be creative on the day to best effect, but also have the means to adapt to any challenge or opportunity, and that’s the key to make great lighting in remote shoots look effortless.
Filming in Public Spaces in the UK
How To
Filming in public spaces is a fantastic way to add depth and authenticity to your project and draw potential association with and buy in from the viewer. Whether it’s capturing action-packed car chases or heartfelt conversations on a picturesque street, shooting in public comes with its own set of rules, paperwork, and potential challenges.
It may not be an obvious factor to filming in public, but this is a vital factor of what Cande Group does in the background and why we put so much effort into pre-production; we’ve learned that a smooth public shoot is all about preparation, communication, and maybe a touch of charm when working with local authorities. Here are some of our nuggets of wisdom to ensure a trouble-free process:
Do You Really Need a Permit?
Short answer: absolutely. Long answer: if you’re setting up cameras for filming in public spaces – whether it’s a bustling high street or a quiet country lane – you’ll need permission from the local authority or landowner. The type of permit depends on the location. For example:
– A public pavement or street – most likely owned by your local council.
– A park or historic site – this could fall under English Heritage, Historic Houses, the National Trust, or a private entity’s care.
– London or other major filming hubs – most popular locations for filming in public spaces have dedicated film offices that streamline the process (and trust us, these folks are worth knowing and are absolute lifesavers).
The key is knowing who owns what. If you’re unsure, start with the council or film office and they’ll point you in the right direction.
It’s All in the Detail
When applying for a permit for filming in public spaces, councils aren’t just going to rubber-stamp your form, they want to know you’ve thought it through. Here’s what they’ll typically expect:
– Insurance: Public liability insurance is an absolute must, usually for up to £10 million. Some councils accept £5 million, but don’t count on it.
– A Plan: Include everything, from timings to locations, crew size, equipment, and even where you’re parking the van.
– Risk Assessments: You must consider every possible hazard. What happens if a tripod blocks the pavement or someone trips over a cable? Think ahead, because the landowner will be thinking about it too. They’ll also want to know how you’re keeping everyone (public included) safe.
What About Special Filming Scenarios?
Filming in public spaces isn’t one-size-fits-all and each schedule needs careful thought. Some shoots require extra permissions or precautions, such as:
– Moving Vehicles – got a car rigged with cameras or filming a driving sequence? You’ll need approval from the council’s highways department and local police.
– Action Scenes – staged fights, imitation weapons, or anything resembling illegal activity for when filming in public spaces will need police supervision. Thankfully, police officers are usually happy to take part in our experience, it’s a bit more exciting than paperwork, after all.
– Drone Footage – flying over public spaces requires Civil Aviation Authority (CAA) approval and compliance with strict UK drone laws. Ensure your operator has the correct licence to fly the drone.
– Specialist equipment – filming in public spaces can mean the use of anything from SFX or a Crane/Jib arm, they will need to know everything is being operated properly and will ask for details of suppliers/operators. For example, you won’t be able to have a camera crane in public unless operated by a Level 3 Grip or above.
Timing is Everything
Here’s the golden rule: start your application early if you plan on filming in public spaces. Most councils need at least four weeks to process permits, but in popular filming spots like London, it could take longer. Factor in potential revisions or additional requirements, and you’ll thank yourself for being ahead of schedule.
The Price of Going Public
Permits aren’t free, and costs can vary depending on crew size, location, and what you’re doing. A small crew filming a quiet scene will cost less than, say, a car chase requiring road closures. Some councils also charge for parking suspensions or cordons, so keep that in mind when budgeting.
On the Day: Keeping Things Smooth
Even with all the paperwork sorted, filming in public spaces can be unpredictable. Here are a few things Cande has learned from our experiences of filming in public spaces:
– Hire Security – a crew member keeping an eye on kit and kindly asking passers-by to pause for a shot can be well worth the cost and make a world of difference on time taken and overall quality of footage.
– Signage and Communication – let the public know what’s going on. A friendly sign or a polite crew member knocking on doors beforehand, can prevent awkward interruptions and ingratiate yourselves to locals in the surrounding area who may well be more understanding if there is any disturbance to their day.
– Respect the Public Space – be mindful of noise, clean up after yourselves, and avoid disrupting local businesses or residents as much as possible.
Case Studies for filming in public spaces
London: Documentary
Filming in public spaces in London comes with extra challenges but also extra support if you know where to find it. Agencies like Film London, Transport for London (TfL) and Met Police Film Office are experts at helping productions navigate busy streets, landmarks, and transport systems. They’ve seen it all, so don’t hesitate to lean on their guidance.
Cande Group was commissioned to make a self-funded documentary called Green Gold, and we decided to film an in-car interview, as if the presenter and interviewer were driving from point A to point B. This process meant that we had to dig to find out which elements of filming required permissions from which establishments. For example, we needed a permit from TFL to film the presenter outside the tube station, however we were instructed to find a non-TFL owned piece of land for the main filming, which was the local borough council.
The truly challenging element was not only filming within the car whilst driving, but also car-to-car from a camera within the vehicle leading the interview car. For ease from a permit point of view, we chose a route within one borough with a loop that didn’t present heavy traffic issues. A further permit was needed from the Met Police since we were filming on live public roads and had cameras rigged up to the interview car.
Other essential factors that may or may not be obvious, are among others, to make sure your cameras don’t block the driver’s view, only hang a certain distance off a car and that you always have a lead vehicle.
The Midlands: Short Narrative Film
The Carolers was a short narrative film that Cande Group directed and co-produced in collaboration with USA-based production company Sargasso Media. We staged the filming in a residential area of Nuneaton which required permits from the borough council plus Warwickshire County Council. One tip is that if you wish to film on a public pavement this is classed as a ‘highway’ and needs permission from the local council.
This project also needed child licences and permits for our young actors, or young people under 17 years old to undertake paid performances. To streamline and manage such a process, Cande has a partnership with a local performance agency called WallyandDolly, who arranged all of the child licences for us and acted as our chaperones.