Interim Guidelines on Safety Protocols for the Conduct of Film and Audio-Visual Production Shoots to Mitigate Covid-19
May 16, 2020
MEMORANDUM ORDER NO. 6
Series of 2020
Click HERE for the official copy.
FOR. : ALL FILM AND AUDIOVISUAL INDUSTRY AND COMMUNITY STAKEHOLDERS
RE. : INTERIM GUIDELINES ON SAFETY PROTOCOLS FOR THE CONDUCT OF FILM AND AUDIOVISUAL PRODUCTION SHOOTS TO MITIGATE COVID-19
DATE : 15 May 2020
On February 7, 2020, through Joint Memorandum Circular No. 001 S. 2020 with the Film Development Council of the Philippines (FDCP), the Department of Labor and Employment (DOLE) released a set of guidelines governing the promotion of the welfare of audiovisual production workers (See Annex A for the JMC's Salient Points).
On March 8, 2020, President Rodrigo R. Duterte, recognizing that the Coronavirus Disease 2019 (COVID-19) constitutes a threat to national security and prompts a whole-of-government approach in addressing the outbreak, declared a State of Public Health emergency in the country through Proclamation No. 922.
On March 15, 2020, to prevent the sharp rise of COVID-19 cases in the country, the President placed the entire of Luzon under Enhanced Community Quarantine (ECQ) until April 14, 2020.
On April 7, 2020, upon the recommendation of the Inter-Agency Task Force on Emerging Infectious Diseases (IATF-EID), the President extended the implementation of the ECQ until April 30, 2020.
On April 23, 2020, the IATF recommended that Guidelines be issued by the different Government agencies to provide policy directions for the public and stakeholders in complying with Government regulations following the modification of enhanced community quarantine
On April 27, 2020, the Department of Health issued Administrative Order 2020-015 that required National Government Agencies (NGAS) to develop and submit their sector-specific plans and guidelines on the operationalization of the risk-based public health standards to the DOH, which shall be consolidated and endorsed by the Secretary of Health to the IATF;
Pending approval from the IATF on the submitted Film And Audiovisual Production Shoot Guidelines On The Risk-Based Public Health Standard For COVID-19 Mitigation, the FDCP undertakes to adopt interim guidelines as the film, and the audiovisual sector gradually opens up, and business starts to commence starting May 16, 2020, under Modified Enhanced Community Quarantine (MECQ).
These guidelines are developed with all the policies cited in the FDCP-DOLE Joint Memorandum Circular as the baseline unless otherwise modified, restricted, or upgraded to adapt to the COVID-19 situation.
These interim guidelines are issued to assist companies and workers from the film and the audiovisual industry as preparations are undertaken to resume on-site operations after May 15, 2020 slowly, and pending the endorsement of the DOH and the approval of IATF of the Film And Audiovisual Production Shoot Guidelines On The Risk-Based Public Health Standard For COVID-19 Mitigation.
These guidelines shall cover the following:
A. All film and audiovisual companies
B. All film and audiovisual workers including employees regardless of status and independent contractors/freelancers
C. All forms of film and audiovisual content including motion picture, film, television, animation, advertising, and other audiovisual content
D. Production stages from pre-production to principal Photography
E. All venues of production, including on location, studios, workplace, and other venues
IV. DEFINITION OF TERMS
a. AD refers to the assistant director;
b. Apple Box refer support or height-raising devices intended to hold a significant amount of weight that is used for raising individual objects in front of the camera so that they appear more pleasingly spaced, arranged or elevated to the angle of the camera;
c. Audiovisual production is a sector within the audiovisual industry which involves the creation, development, and production of audiovisual content regardless of platforms (such as Television, Motion Picture (or Film), Animation, Web, Advertising, and all other identified digital medium) where it is exhibited;
d. Audiovisual Production Staff refers to the following persons but not limited to the Director, Assistant Director, Director of Photography, Production Designer, Production Manager/Unit Production Manager, Location Manager, Department Heads, Technical Crew, Department Crew, and Production Staff;
e. Boom Microphone refers to a mic mounted on a boom where the microphone should be positioned close to the audio source without appearing in the frame of the shot;
f. Call Time refers to the time that the workers shall be on the set as provided in the contract and/or call sheet;
g. Cast refers to the lineup of on-camera performers selected to play the roles in the story;
h. Clear barrier refers to a piece of protective equipment that can be placed between actors before a take;
i. Craft Table refers to a table that is made up of food and snacks for the cast and crew between meal breaks;
j. Crew refers to a group of people hired by a production company, to produce a film or audiovisual content;
k. DOH refers to the Department of Health;
l. DOP refers to the Director of Photography or the cinematographer;
m. DOLE refers to the Department of Labor and Employment;
n. DOTR refers to the Department of Transportation;
o. Employee refers to an individual who works part-time or full-time under a contract of employment, whether oral or written, express or implied, and has recognized rights and duties.
p. FDCP refers to the Film Development Council of the Philippines;
q. Face mask/mask refers to a device that individuals wear covering the nose and mouth, for example, to prevent from breathing bad air or from spreading germs;
r. Face Shield refer to an item of personal protective equipment which aims to protect the wearer's entire face from hazards such as flying objects and road debris, chemical splashes, or potentially infectious materials;
s. Foot Bath refers to a way of disinfecting footwear before entering a venue;
t. Freelancer refers to a person who is self-employed and not necessarily committed to a particular employer long-term;
u. Gaffer refers to the chief lighting technician on a set that executes the lighting plan for a production;
v. Grind refers to when the cameras start rolling during shoots;
w. Grip Gear refers to the flags, stands, modifiers, clamps, and so on used by grips to modify the light of a set;
x. Hours of Work refers to the amount of time that a worker must work for the production on agreed wage. Hours worked shall include all time during which a worker is required to be on duty or to be at a prescribed workplace at an agreed wage;
y. Independent Contractor refers to an individual or entity engaged to work who has unique skills, experience or celebrity status and whose means and methods in the performance of his/her work is outside the control of another or the hiring party, and his/her service/engagement contract is governed by the Civil Code provisions on contracts and other applicable laws, but in no case lower than the standards provided by the Labor Code, as amended;
z. Insurance refers to a practice or arrangement by which the production provides a guarantee of compensation for specified loss, damage, illness, or death incurred while in the conduct of audiovisual production;
aa. IgM and IgG refer to antibodies which are tested by rapid antibody tests;
bb. Location Manager refers to the person designated by the producer responsible for ensuring that Location Requirements per Safety Guidelines for the Audiovisual Production are complied with accordingly, and informing the producer of known environmental or structural hazards;
cc. Location Scout refers to the personnel working with the manager to identify the venues to shoot that are in line with the director's concepts and fits in the producer's budget and health and safety considerations. Scouts will use a combination of online research and direct communication to identify such locations;
dd. Meal Period refers to a period that interrupts a basic workday in a non-pay and non-work status to permit workers to eat or engage in permitted personal activities;
ee. National Emergency refers to a state of emergency resulting from danger or threat of danger to a nation from foreign or domestic sources and usually declared to be in existence by a governmental authority;
ff. Ocular refers to the assessment of a location to determine its appropriateness to the production and the extent and severity of hazards posed by the location;
gg. On-camera Performer refers to a person paid to appear on the screen;
hh. Open Call refers to a form of casting for on-camera performers that allow for anyone interested to come in without an appointment;
ii. OSHS refers to the Occupational Safety and Health Standards of the DOLE;
jj. Personal Protective Equipment (PPE) refers to equipment worn to minimize exposure to hazards that cause serious workplace injuries and illnesses. Personal protective equipment may include items such as gloves, safety glasses and shoes, earplugs or muffs, hard hats, respirators, coveralls, vests, and full body suits;
kk. Pre-production refers to the planning stage where elements involved in the audiovisual content is finalized including but not limited to script reading, set up, look test, wardrobe preparation, and rehearsal;
ll. Principal Photography refers to the process where the bulk of the film is shot, with actors on set and cameras rolling, as distinct from pre-production and post-production;
mm. Post-production refers to the stage of production where editing (i.e., music scoring, color grading, and sound design) is done;
nn. Producer or duly designated representative refers to a person who is the head of, or act as the representative of the production, who shall act as a direct or indirect employer, and shall be directly or indirectly liable for all incurred violations in the workplace;
oo. Production or Production Company refers to an entity which shall serve as the principal directly liable for any incurred violations by its agent in the workplace;
pp. Props (or property) refers to the furnishings, fixtures, hand-held objects, decorations, or any other moveable items that are seen or used on a film set but that are not a structural part of the set;
qq. Quadrants refer to specific work areas per department during shoots;
rr. Qualified OSH Personnel refers to the Safety and Health Personnel who is engaged by the producer, and responsible for ensuring that OSH Standards are being enforced and complied with;
ss. Rehearsal refers to the activity before the shoot where the production supervises actors in a practice run. On-camera performers are usually in costume and have been through the hair and make-up process;
tt. Safety Data Sheet refers to the list of hazardous chemical elements or products that shall be utilized in the production document;
uu. Safety Meeting refers to a meeting of all people involved in the production to brief and remind individuals of safety guidelines for the duration of the shoot;
vv. Scouting refers to a process during pre-production that identifies outside locations that are viable for a production shoot outside of studio facilities;
ww. Script refers to the text for a film production written by script or screenwriter/s in the prescribed form as a series of master scenes, with all the dialogue provided and the essential actions and character movements described;
xx. Set refers to the enclosure in which a film scene is shot including scenery and props;
yy. Shoot refers to the filming of the on-camera performers and/or other persons selected during casting to produce a video, before Post Production;
zz. Shoot Day refers to a period not exceeding 12-hours, inclusive of all meal breaks. A shoot may last for one or more shoot days but shall be deemed to last a minimum of one (1) shoot day;
aaa. Shoot Schedule refers to the plan and schedule for the production that breaks down the scenes, talent, time, cast, movement, and breaks for the duration of the shooting;
bbb. Single-serve refers to preparation for one portion/person only;
ccc. Standby or holding area refers to a covered and enclosed space within the set where workers are temporarily held during the rest period or waiting time;
ddd. Storyboard refers to a visual representation of a film sequence that breaks down the action into individual panels. It is a series of ordered drawings with camera direction, dialogue, or other pertinent details and sketches out how a video will unfold, shot by shot;
eee. Storyboarding refers to the development of the storyboard;
fff. Studio Shoot refers to the conduct of shoots in a studio facility;
ggg. Talent refers to an independent contractor who has unique skills, experience or celebrity status and whose means and methods in the performance of his/her work is outside the control of another or the hiring party, and his/her service/engagement contract is governed by the Civil Code provisions on contracts and other applicable laws, but in no case lower than the standards provided by the Labor Code, as amended;
hhh. Touch-ups refer to touching up of make-up to fix or restore minor flaws;
iii. Turnaround Time refers to the 12-hour rest period between wrap and call time the next workday;
jjj. Videoconferencing refers to the use of technology and online platforms to allows users in different locations to hold face-to-face meetings;
kkk. Video Assist refers to a system which allows for the viewing of a video version of a take immediately after it is filmed;
lll. Video Village refers to an area on a film set where a large monitor is set up so that key film crew members can observe the movie as it is being filmed;
mmm. Waiting Time refers to time spent by a worker which shall be considered as actual working time if he/she is required or engaged to wait;
nnn. Work Area refers to an area in a place of employment or production shoots where one or more workers are routinely assigned and perform services for or on behalf of the producer;
ooo. Wardrobe refers to clothes that on-camera performers wear, including jewelry, footwear, and wig work. Wardrobe provides information about the period, culture and society the actors inhabit and, on a more subtle level, the underlying themes of the film itself;
ppp. Worker refers to any staff or member of the production which may include, but are not limited to a Director, Assistant Director, Director of Photography, Production Designer, Production Manager/Unit Production Manager, Location Manager, Technical Crew, Production Staff, Department Heads, Department Crew, and On-Camera Performers;
qqq. Working Conditions refer to the working environment and all existing circumstances affecting labor, including work hours, physical condition, and legal rights, and responsibilities;
rrr. Workplace refers to any set or location where workers need to be present or to go to because of their work, and which are under the direct or indirect control of the producer. It is where the audiovisual content is produced. It can be an actual setting or a studio shoot (soundstage, sets, backlot, etc.);
sss. Workplace Hazard refers to any risks and hazards present in the work environment which workers are confronted with; and
ttt. Wrap refers to the end of filming (either used at the end of a shoot day or overall filming).
V. SAFETY PROTOCOL SUBMITTED BY DULY-RECOGNIZED ORGANIZATIONS
Various duly-registered organizations may submit safety Protocols and guidelines to FDCP representing their respective sectors. FDCP will endorse the guidelines to the Department of Health and IATF as Annexes provided that the provisions are following the prescribed guidelines in this Policy.
All workers, especially stunt people, and equipment shall be properly insured in every audiovisual production. For this purpose, accident insurance for workers shall be the minimum coverage, with additional circumstances added at the discretion of the producer.
VII. WORKPLACE SAFETY AND HEALTH
Producers/ Employers shall ensure that the following safety and health standards shall be implemented in all workplaces aligned with the minimum health standards of the DOH with the following objectives:
A. Increase Physical and Mental Resilience
B. Reduce Transmission
C. Minimize Contact Rate
D. Reducing the Risk of Infection From COVID-19
VIII. IMPLEMENTING GUIDELINES
A. INCREASE PHYSICAL AND MENTAL RESILIENCE
1. It must be emphasized to all workers to observe the following actions to stay healthy and active:
- Eat nutritious and well-cooked food.
- Drink plenty of fluids and avoid alcoholic beverages.
- Increase the body's resistance by having adequate rest and at least eight (8) hours of sleep.
- Exercise regularly.
2. Referrals must be provided for workers needing counseling or presenting with mental health concerns.
3. Regarding Hours of Work, a maximum of 12-hour working hours must be strictly enforced.*
*In line with the COVID-19 pandemic, the working hours shall be adapted from a maximum of 16 hours to 12 hours. This shall apply for the whole duration of the protocol implementation.
4. 12-hour turnaround time must be observed to allow for personnel to have ample time to rest and for proper sanitation to be done between call times.
B. REDUCE TRANSMISSION OF COVID-19
1. GENERAL GUIDELINES
a. HEALTH DECLARATION
i. A COVID-specific health declaration form must be filled up and submitted by all cast and crew.
ii. All crew and anyone attending the shoot, including on-camera performers, must provide to the production company (before the shoot date) an agreement outlining their travel throughout the previous four-week period, before the shoot date.
iii. All crew and anyone attending the shoot, including on-camera performers, must provide to the production company (before the shoot date) an agreement outlining any contact with someone who has a confirmed or suspected case of COVID-19.
iv. Any personnel who has traveled to high-risk countries or have been in contact with individual/s with COVID-19 during those four weeks will not be allowed to participate in the shoot.
v. All crew and anyone attending the shoot, including on-camera performers who feel unwell before the shoot, must contact the production company for a replacement.
b. HEALTH AND SANITATION MEASURES
i. An isolation area or space must be designated in any workplace or venue in all stages of production.
ii. Temperature checks must be conducted for all personnel participating in activities and entering shared premises (office, studio, post house, etc.). Those who are running a fever (37.5 and above) must stay home.
iii. All personnel must wear face masks in all stages of work. Surgical face masks or equivalent are recommended throughout the course of the shoot to be provided by the production company.
iv. All personnel must practice frequent and thorough hand washing, personal hygiene, and proper respiratory etiquette.
v. Thorough and professional sanitation and disinfection of all shared work areas, including but not limited to office and shoot equipment, design requirements, and all other objects brought in and used must be observed.
vi. The use of shared objects (scripts, storyboards, props, pens, radios, etc.), including those that will be handled and passed from one person to another, must be limited.
c. SOCIAL DISTANCING
i. A maximum number of people on-set must be limited to fifty (50) people and below.
ii. All personnel must observe physical distancing.
iii. Big crowd scenes requiring close physical proximity shall not be allowed.
iv. Reducing physical contact by conducting online meetings, electronic transactions, virtual reviews, and checks are encouraged.
v. Remote management of pre-production and post-production meetings must be practiced.
vi. Limiting the number of personnel on-site to only essential personnel and key decision-makers must be observed.
vii. Everyone must be respectful of people's personal space and avoid hugging, touching, or handshakes.
viii. For interior shoots, every person inside must observe a 1-meter distance from each other.
ix. Camera/s must be two (2) meters away from on-camera performers at all times.
d. LOCAL COMMUNITY GUIDELINES
i. When scheduling productions and securing film permits, productions must take note of current local government community quarantine guidelines where the shoot will be located, especially on curfew hours and such.
2. PRE-PRODUCTION STAGE
a. GENERAL PROTOCOLS
i. Pre-production meetings must be scheduled within a reasonable amount of time before the shoot.
ii. The pre-production agreements must be agreed on and disseminated immediately to facilitate proper preparations.
iii. Decisions to be made must be discussed, agreed upon, and considered binding. This is meant to maximize the efficiency of the shoot day.
iv. A clear and realistic shoot schedule and shot list must be agreed upon and disseminated before the shoot day.
v. Productions may consider sequestering cast and crew in hotels to control the environment and avoid bringing illness to and from the set.
vi. Personnel who may effectively be able to work from home for prep, shoot, wrap must be identified before the shoot.
b. SOCIAL DISTANCING MEASURES
i. Online and virtual meetings are mandated, within production, and with producers (e.g., pre-production and technical meetings, storyboarding, etc.).
ii. Pre-production meetings must be held online.
iii. Remote or online approvals must be observed.
c. HEALTH AND SANITATION MEASURES
i. All personnel's health declaration forms must be submitted before the shoot, with those feeling unwell being required to stay at home.
ii. Creative executions must comply with current health and safety requirements.
iii. Should face to face interactions be required, the producer shall be responsible for the sanitation of the area and all other objects that will be used. The producer must also provide handwashing areas with adequate water and soap, hand sanitizers, tissues, and covered trash bins.
iv. All items in the general guidelines (masks, temperature checks, proper hygiene, and social distancing) must be observed.
a. SOCIAL DISTANCING MEASURES
i. When possible, casting sessions and callbacks should be done remotely via Facetime, Zoom, Skype, and other online video conferencing platforms.
ii. Should they be done face to face, auditions and callbacks must have a staggered schedule so that on-camera performers do not crowd in the same room, and social distancing can still be observed.
iii. Strict implementation of general guidelines on venue sanitation, masks, physical distancing must be observed during face to face casting.
iv. The number of people inside the actual casting studio must be limited to camera and VTR operator, caster, and on-camera performers.
v. "Open calls" must be discouraged, and everyone must have assigned window times when they arrive.
b. ON-SITE CASTING
i. Actors may be encouraged to wait in their cars, not in the waiting area of the casting facility.
ii. Actors may check-in from outside via text or email.
iii. One dedicated Casting Assistant must sign all performers in and out.
iv. During in-person group auditions, actors must wear PPE (masks, gloves, etc.) and maintain social distancing.
v. When casting families, real families may be casted when possible so physical contact is kept within an existing family unit.
vi. Wardrobe specifications must be identified in the breakdowns so that actors may bring outfits that can be worn on the shoot.
c. HEALTH AND SANITATION MEASURES
i. On-camera performers must bring their own make-up and brushes, sample, or test wardrobe/props to avoid cross-contamination.
ii. If distributing hard copy scripts/slides, papers used after each reading must be disposed of.
4. LOCATION / OCULAR WORK
a. GENERAL PROTOCOLS
i. Size and space given the health protocols must be given consideration when deciding among location options.
ii. While on location, conversations must be done outside as much as possible.
iii. Space and airflow must be maximized when designating spaces for a shoot.
iv. Studio shoots are encouraged for control and security. The use of other private venues (private houses, clubhouses) may also be considered, as long as these are exclusive for the use of production personnel. Public venues such as streets, markets, malls, etc. are highly discouraged and must be avoided.
v. Permit applications must be submitted as early as possible in case of the release of new regulations.
vi. Backup locations must be an option if a location pulls out or otherwise becomes unavailable.
vii. For house shoots, alternative lodging must be provided to house occupants for the duration of the shoot, including pets.
viii. Only one individual may put up and take down all location signs.
b. SOCIAL DISTANCING MEASURES
i. Scouting must be done by the location manager or the team virtually as much as possible, carefully considering the number of locations that must be scouted in-person.
ii. Self-driving must be observed when possible during scouting. If carpooling, everyone must be in masks, gloves, etc. inside the vehicle and must keep physical distancing restrictions.
iii. Location Scouts may consider renting multiple vehicles to allow distance between seats.
iv. Space and airflow must be maximized when designating spaces for a shoot.
v. Drivers must wipe down the vans (seats, handles, etc.) inside and out every time people exit the vehicle.
vi. Sets must be limited to essential personnel only with additional visitors avoided as much as possible.
c. HEALTH AND SANITATION MEASURES
i. Locations must be thoroughly sanitized before and after use.
ii. Disinfectants must be used carefully to avoid damage.
iii. Soap dispensers, preferably sensor activated, and hand dryers, etc. must be provided in locations when available.
iv. Washing stations must be provided when there is no access to running water.
5. DURING PRINCIPAL PHOTOGRAPHY
a. ON-SET PROTOCOL
i. A maximum number of people on-set must be limited to fifty (50) people and below.
ii. Venue layout should be designed to allow for unidirectional movement in aisles, corridors, or walkways.
iii. An isolation area or space must be designated in the studio or shoot venue.
iv. Production protocols for transport for suspect COVID-19 cases, whether from the studio or location shoot, must be in place, including providing for ambulance conduction. (Hospitals will report to the DOH for COVID-19 suspects).
v. Production IDs must be issued to all personnel attending the shoot and must be required for entry. These are to be displayed prominently during the entire shoot.
vi. Assistants, chaperones, and guests will not be allowed.
vii. A list will be provided before the shoot, and only those on the list will be allowed inside the studio or location. This list will include only essential personnel and key decision-makers.
viii. All guidelines and reminders must be posted on the shoot location, including bathrooms, make-up rooms, wardrobe rooms, and common areas.
ix. Signages must be posted in strategic areas all over the workplace or venue.
x. Quadrants or specific areas per department will be assigned to minimize social contact and interaction.
xi. Misting tents at the entrances may be installed but are not required.
b. HEALTH AND MEDICAL PRECAUTIONS
i. Certified OSH personnel must be present on set at all times.
ii. Also, medical personnel or equivalent must be assigned to check the temperature of all attendees and ensure that all safety and health measures are enforced.
iii. All cast and crew members must get their temperature taken at the beginning of each day every 6 hours thereafter, as well as for every entry in the venue.
iv. For multi-day shoots, a chart must be kept to monitor temperature changes in the cast and crew.
v. Anyone who registers a temperature of 37.5 standard temperature or above (indicating a fever), has a cough or a cold or muscle pain, or has travelled within the last 14 days in high-risk areas, will be denied entry or sent home.
vi. All cast and crew members must self-monitor for signs or symptoms of illness and must immediately report to the medical personnel who must report to the producer.
vii. A briefing on health protocols by a nurse or medical personnel must be conducted before the grind. Periodic reminders must be announced by the Assistant Director or the assigned Production Assistant for hand washing, disinfecting, and proper respiratory etiquette.
viii. All crew members must wear appropriate Personal Protective Equipment (PPE), including but not limited to gloves, goggles, face shields, masks that cover the nose and mouth, finger cots (suitable for finger-only touch-points such as copier, microwave) to be provided by the production.
ix. Replacement masks must be provided after 8 hours.
x. Other additional Personal Protective Equipment (e.g., surgical gowns) may be used at the person's own discretion and expense.
c. SOCIAL DISTANCING MEASURES
i. Attendees must strictly be limited to a maximum of fifty (50) people.
ii. A skeleton workforce system must be utilized to limit the number of cast and crew on set.
iii. When filming indoors, only essential personnel may be allowed.
iv. Social distancing of no less than 1 meter (side, back, and front) must be maintained whenever possible.
v. 1-meter distance markers must be placed on the floors in environments where people need to line up.
vi. The arrival of teams must be on a staggered and rotational basis.
d. HYGIENE AND SANITATION
i. Hand sanitizing stations and/or handwashing stations, tissues, and covered trash bins must be provided throughout the set area.
ii. Frequent handwashing must be required for all on-set personnel.
iii. If soap and water are not available, alcohol-based hand sanitizers or sanitizing wipes must be provided. Antibacterial solutions must be placed on set and used throughout the shoot for all crew and talents.
iv. Surfaces, equipment, and other elements of the work environment must be frequently cleaned and disinfected using alcohol-based sanitizing wipes.
v. A footbath must be placed at all entrances of the studio or shoot venue.
vi. Professional disinfection of the studio or location must be conducted on the day of the shoot. Toilets must be cleaned and have running water, soap, and tissue at all times. Maintenance personnel must be assigned to periodically disinfect and wipe down all surfaces and shared work areas.
vii. For all shoot venues (studio and locations), locations must have undertaken a 'deep clean' before and after each shoot.
viii. Dress code must be enforced. Pants, closed shoes, short-sleeved shirts are minimum requirements for the on-set personnel.
e. ON-SET BEHAVIOR
i. Personnel must be reminded to respect people's personal space. Handshakes, hugs, and kisses are discouraged.
ii. Personnel must be reminded to cover their mouths (not with hand) for coughs and sneezes.
iii. Everyone must practice coughing or sneezing into their elbow and using single-use tissues.
iv. Personnel must be reminded to refrain from using or touching other people's phones or personal work tools.
6. ON-SET AREAS
6.1. VIDEO VILLAGE
a. SET UP
i. Chairs must be disinfected before and after people sit down.
ii. Director's chairs may be replaced for plastic chairs as they are easier to disinfect.
iii. The video Village must be set up outside, if possible.
iv. Additional monitors may be set up to allow for social distancing.
v. Each person that needs to view the scene must be provided separate monitors that are distanced 2 meters apart.
a. HYGIENE AND SANITATION MEASURES
i. As a general rule, on-set catering should adhere to government guidelines regarding food service.
ii. Food to be served during the shoot must be provided by a caterer that has safety certifications for safe food handling.
iii. All personnel handling food must be required to wear new and fresh masks and shields, gloves, and hairnets.
iv. Any person handling food should thoroughly wash their hands before and after and wear gloves.
v. All meals must be served in individually packed single-serve containers and distributed in such a fashion as to avoid surface contamination and handling of shared utensils.
vi. Utensils must be individually wrapped in plastic (or similar packaging).
vii. When possible, disposable, ecologically friendly flatware, plates, and cups must be used.
viii. Cast and crew may be encouraged to bring their own drink containers, utensils, and be responsible for keeping them clean and sanitized.
ix. All individuals must be responsible for picking up their food and drinks and disposing of their trash after.
x. Large individual bottles of water may be provided to staff and crew to minimize the sharing of glasses and the use of common water dispensers.
xi. A craft table may be set up for food and drinks, like individually packed snacks. Sharing of food and utensils must be highly discouraged.
xii. Hand washing stations must be provided.
b. SOCIAL DISTANCING MEASURES
i. Lunch and other meal times may be staggered to ensure social distancing.
ii. Self-service stations or buffet style catering must not be allowed.
iii. Eating in communal areas is discouraged. It is best to eat in the individual work area, and all wastes must be disposed of properly.
iv. If eating in individual work areas is not possible, social distancing must be maintained in dining areas—one worker per table and two (2) meter-distance per table.
v. It is discouraged that workers engage in conversation with masks off during meal times.
vi. Tables and chairs must be cleaned or disinfected after every use of the area, before the start of the shoot day, and the end of the shoot day.
vii. Cast and crew may be allowed to bring their own food and/or eat in their car.
6.3. HAIR AND MAKE-UP
i. Hair and make- up teams must be in a separate area that will be closed off to other non- essential personnel.
ii. PPE must be worn for the duration of person-to-person contact.
iii. Face shields must be worn by the Make-up and Hair Stylists.
iv. Make-up stations must be kept a minimum of two (2) meters apart.
v. Actors and make-up artists must wash their hands with soap before and after sessions.
vi. Disposable make-up kits and brushes must be used and disposed of after each application.
vii. Make-up must be mixed on a disposable palette, and one brush, applicator, etc. must be used per talent.
viii. Clean hairbrushes and combs and reusable tools must be used with appropriate disinfecting solutions. Brushes/ combs may be assigned to each actor to avoid cross-contamination.
ix. Actors may consider showing up having done their own make-up/hair.
x. Touch-ups must be avoided unless absolutely necessary.
xi. Hair and make-up for secondary/back up actors may be avoided unless necessary.
6.4. WARDROBE DEPARTMENT
i. Wardrobe fitting discussions between the wardrobe department (who are with the actors) and the producer should be conducted remotely via Facetime, Zoom, Skype, etc. or other videoconferencing platforms.
ii. Wardrobe planning should be done ahead of shopping and pulling out from clothing suppliers.
iii. Any wardrobe to be used must be certified to have undergone deep cleaning before and after the shoots.
iv. Only the wardrobe department may touch clothing and other wardrobe elements until it's decided what the actor will try on.
v. Personnel must use gloves and mask when looking through garments from clothing suppliers and retail stores.
vi. Booking of talent must be made as early as possible to get their sizes ahead of time.
vii. Costumes and outfits must be bagged up individually per actor/performer.
viii. Clients may consider allowing actors to keep the purchased wardrobe to avoid passing them around.
ix. When possible, actors should arrive in their own wardrobe.
x. Jewelry and glasses must be disinfected in between use.
6.5. HOLDING AND COMMON AREAS
i. All common and holding areas for talent must be set up outside, if possible.
ii. Seating must be arranged in such a fashion as to promote distancing (at least 2 meters apart), and prescribed seating should minimize social interaction between departments so that at-work groupings are maintained on breaks.
iii. To minimize the risk of infection due to aerosol particles, priority must be given to ventilation of all interior spaces
either through open windows or mechanical ventilation.
iv. Larger tents with portable A/C units may be considered.
v. Windows and doors must be kept open when possible to increase ventilation.
vi. External deliveries for food, equipment, and wardrobe, must be handled outside or through a designated area which must be sanitized before and after deliveries.
vii. Remote controls, light switches, etc. must be continuously disinfected.
7. ON-CAMERA PERFORMERS
i. A temporary, clear barrier between actors may be installed while establishing marks and positions and only removed right before the take.
ii. Alternate shot set-ups, camera angles, lenses, must be explored to ensure the distance between actors.
iii. For kissing, sex scenes, or scenes that require one actor to touch another's face or body, the actors must test negative for COVID-19, and full and explicit consent must be secured from the actors involved. Otherwise, actors may refuse to act or participate in such scenes.
iv. Hygiene and safety measures must be observed before and after such scenes.
i. The number of extras must be kept to a minimum.
ii. There must be enough space and tables and chairs for holding areas for extras to practice social distancing.
iii. A seat for each person is required within the holding area.
iv. One pen must be provided to each talent to execute paperwork.
i. Producers are highly discouraged from allowing minors to work on-set.
ii. Otherwise, minors may be scheduled as arranged with their schooling. They must be appropriately briefed on safety protocols in the sets.
iii. Production must have PPEs on hand that fit minors.
iv. No make-up may be applied to minors unless absolutely necessary.
8. STAFF AND CREW REQUIREMENTS
i. Pertinent COVID-19 considerations and reminders must be included in Daily Safety Meetings. Scheduling and carrying out multiple meetings may be required if staggering start times are implemented.
ii. Additional Production Assistants may be dedicated per department to assist with ensuring sanitizing and relaying information from one department to the others.
iii. Once production starts, the director must limit takes to make sets more efficient and result in less standing around/congregating time.
iv. When possible, only one department at a time must occupy a work area.
v. One cleaning crew must be assigned per department to be responsible for regular wipe-downs of surfaces.
vi. A proper and working video assist must be made available to all departments.
vii. People on the actual set will be limited only to actors in the scene, the assistant director (AD), the DOP, a gaffer, camera operator and assistant, and sound man (if needed).
viii. Other personnel will be called in on set by the AD only when needed.
b. HEALTH AND SANITATION MEASURES
i. The essential crew, such as those in the camera department, must have 'pocket' hand sanitizers to be applied frequently.
ii. All crew personnel must wear masks to be worn at all times on set to be provided by the production.
iii. All crew personnel must wear gloves to be provided by the production and must be changed regularly during the day.
iv. Individual office supplies (pens, pencils, staplers, paper clips, etc.) must also be assigned to personnel or departments to avoid cross-contamination.
v. Members of each department must disinfect gears during breaks.
vi. The number of people having to touch the same items and equipment must be minimized. This may require additional gear.
vii. Consistency regarding which pieces of equipment are handled by which crew must be practiced.
viii. All crew that requires tools must bring their own and not allow sharing.
ix. Devices must be signed out the day before for quick distribution on the shoot day.
x. Devices must be individually bagged and handed to the user in its bag.
xi. Replacement batteries must be disinfected in between uses, bagged, and handed to the crew as needed.
c. SOCIAL DISTANCING MEASURES
i. Studio backstage space and/or on-location areas must be divided into quadrants or specific sections per department with production teams isolated from each other and at least 2 meters apart.
ii. The Production Manager must organize communication via radios or mobile devices.
iii. The set up per scene (lighting, design, blocking) must be done on a staggered basis.
iv. When possible, call times should be staggered to avoid large groups converging on a single area at one time.
v. Productions must be prepared with a backup crew in case of illness during filming. Productions must also anticipate inefficiencies due to new procedures.
8.1. ART DEPARTMENT
a. GENERAL PROTOCOLS
i. All Art Department personnel must be the responsibility of the Production Designer.
ii. Owners of the location must reduce personal items until after the wrap.
iii. Approvals on the location requirements must be secured as early as possible.
iv. The potential value of prep, ingress, and egress days must be considered and may be combined with location cleaning requirements.
b. HEALTH AND SANITATION
i. Standby props must also be thoroughly cleaned before and in between takes.
ii. Props to be used for product consumption shots must undergo a thorough cleaning and proper disposal.
c. SOCIAL DISTANCING MEASURES
i. Meetings, designs, and checks must be coursed through the Production Designer, who will also enforce the health and sanitation protocols in the design team.
ii. The set design and other related details must be discussed and approved virtually or online.
8.2. CAMERA DEPARTMENT
i. Only camera personnel may handle camera gear, including carts, cases, tape, and others.
ii. The crew doing pick-up must handle cases with gloves.
iii. Cases should be wiped down before loading into the vehicle.
iv. Personal equipment must be wiped down upon arrival and before departure each day.
v. Each camera crew personnel should have their own non-sharable camera kits.
vi. Camera prep must be done in an be isolated area.
vii. Members of each department must disinfect gears during breaks in the activities.
viii. The number of people having to touch the same items and equipment must be minimized. This may require additional gear.
ix. Consistency regarding which pieces of equipment are handled by which crew must be practiced.
8.3. SOUND DEPARTMENT
i. PPE must be worn for the duration of person-to-person contact.
ii. Equipment must be disinfected before and after each use.
iii. Microphones must be labeled with the name of the user.
iv. Microphones and transmitters must be disinfected before and after each use.
v. Mounting components that cannot be thoroughly cleaned must be replaced.
vi. Boom-only audio must be utilized when possible.
vii. Some multi-talent scripts may require a second Boom Operator.
viii. There may only be boom microphones before shooting so voice-to-camera scripts must be reviewed.
8.4. ELECTRIC AND GRIP DEPARTMENTS
i. Grip gear must only be handled by the grip department as apple boxes and stands often support other departments.
ii. More gear may be required to ensure that people don't pass or share equipment.
iii. Ordering additional gear and assigned apple boxes and stands to other departments may be considered.
9. VEHICLES AND TRANSPORTATION
a. According to the Omnibus Public Transport Protocols and Guidelines set by the Department of Transportation (DOTr) and the Inter-Agency Task Force for the Management of Emerging Infectious Diseases (IATF-EID), the following must be observed:
i. Private cars will only be allowed one (1) passenger to occupy the front passenger seat, while front-facing seats shall not exceed two (2) passengers per row.
ii. Motorcycles are prohibited from having back ride passengers. Meanwhile, the use of bicycles and similar devices are also highly encouraged.
b. HEALTH AND SANITATION MEASURES
i. Vehicle drivers must follow protocols of temperature and symptom checks.
ii. Drivers and passengers must wear masks inside the vehicles.
iii. Drivers must wipe down vans (seats, handles, etc.) inside and out every time people exit the vehicle.
iv. Windows must be kept down when possible to promote ventilation.
v. Vehicles to be hired for the crew and talents must undergo deep cleaning before use.
c. SOCIAL DISTANCING MEASURES
i. The number of people in a passenger van must abide by social distancing restrictions as prescribed in (a).
ii. Signages in the van exterior must be placed, identifying maximum capacity.
iii. Windows must be kept down when possible to promote ventilation.
iv. One driver must be assigned to one vehicle for the duration of the prep and wrap.
C. MINIMIZE CONTACT RATE
1. A maximum number of people on-set must be limited to fifty (50) people, unless a locality's community quarantine guidelines prescribe a less maximum number.
2. Work from Home arrangements (WFH) shall be utilized for the pre-production and post-production. Physical contact may be reduced by conducting online meetings, electronic transactions, virtual reviews, and checks.
3. Prolonged face-to-face interaction between workers and clients is discouraged, and face masks must be worn at all times and not removed. Meetings needing physical presence shall be kept to a minimum and with a short duration. Videoconferencing must be utilized for lengthy discussions among employees whenever possible.
D. ON REDUCING THE RISK OF INFECTION FROM COVID-19
1. If a worker is suspected of having COVID-19,
a. He/she must immediately proceed to the isolation area designated in the workplace and never remove his/her mask.
b. The on-set nurse or medical personnel attending to the workers must wear appropriate PPEs and, if needed, must require transport of the affected worker to the nearest hospital.
c. Production protocols for transport for suspect COVID-19 cases, whether from the studio or location shoot, must be in place, including providing for ambulance conduction. The hospitals will be responsible in reporting to the DOH the COVID-19 suspect case.
d. The studio or location shoot or work area must be decontaminated with appropriate disinfectants (e.g., chlorine bleaching solution and 1:100 phenol-based disinfectant).
e. After decontamination of the shoot venue, the shoot may resume after 24 hours.
f. Personnel present in the shoot area with the suspect COVID-19 case must go on a 14-day home quarantine with specific instructions from the clinic staff on monitoring of symptoms and possible next steps. If the suspected COVID-19 case has a negative result, the personnel may be allowed to report back to work.
2. If a worker is sick or has a fever but is not suspected of having COVID 19 (e.g.. urinary infection, wound infection or any diseases not related to lungs or respiratory tract), the producer must advise the worker to take prudent measures to limit the spread of infectious diseases, as follows:
a. Stay at home and keep away from work or crowds.
b. Take adequate rest and take plenty of fluids.
c. Practice personal hygiene to prevent the spread of disease.
d. Seek appropriate medical care if there is persistent fever, when the difficulty of breathing has started, or when he/she becomes weak.
IX. MOVEMENT OF WORKERS
Pursuant to DTI MC 2020-20, the movement of workers, including those in production shoots, are allowed subject to the operational capacity limits set by the IATF. Workers may present a company ID, certificate of employment/engagement, or any identification requirements that the IATF may issue in quarantine control points. IATF ID or Rapid Pass shall not be required. Due to limited operations (at a reduced capacity) of public transportation and to further limit people's movement, producers are encouraged to provide shuttle services to its production personnel.
X. DUTIES OF EMPLOYERS AND WORKERS
1. Must provide ID or any necessary documents that personnel and workers need to travel and report to the production studio or location.
2. Must provide these guidelines and necessary company policies for the prevention and control of COVID-19.
3. Must provide resources and materials needed to keep the workers healthy and the workplace safe (e.g., masks, soap, sanitizer, disinfectant, PPEs, including COVID-19 testing kits, etc.).
4. Must employ a safety officer to monitor COVID-19 prevention and control measures such as social distancing, wearing of masks, regular disinfection, compliance to thermal scanning, and accomplishing health symptoms questionnaire.
5. Must designate a nurse or a medical personnel on-set.
6. Must submit reportorial requirements to DOLE and FDCP under JMC No. 001, S. 2020.
1. Must comply with all workplace measures in place, especially the provisions in these guidelines for the prevention and control of COVID-19.
2. Must strictly practice social distancing, hygiene and sanitation, and other protocols to help prevent the spread of COVID-19.
3. Must report any health changes or illness on his/her person during the shoot to the producer so that proper measures may be implemented.
XI. SCENE AND LOCATION RESTRICTIONS
A. According to Executive Order No. 112 and the Omnibus Guidelines on Community Quarantine, a ban on mass gatherings shall be enforced. Therefore, scenes (including the following examples) that constitute mass gatherings are restricted, including but not limited to:
1. Religious mass gatherings such as but not limited to a church congregation, fellowship meetings, etc.
2. Entertainment-related mass gatherings such as but not limited to those in theater venues, cinemas, large concerts, festivals, carnivals, conventions, shows, and pubs and bars
3. Business-related mass gatherings such as but not limited to trade shows, conferences, conventions, workshops, and retreats
4. Sports-related mass gatherings such as but not limited to trainings, games, tournaments, and championships
5. Politically-related mass gatherings such as but not limited to election rallies, polling centers, and public speeches and addresses
6. Gambling and betting activities
7. Social Events scenes such as birthday parties and large weddings
8. Party Scenes
9. Classroom Scenes
B. Smaller group scenes are permitted with five people or less, for example, a dinner.
C. Interior and exterior scenes with a larger number of people, where social distancing can be upheld, may be permitted - for example, people spaced around an office or a street scene, with background pedestrians.
D. For kissing, sex scenes, or scenes that require one actor to touch another's face or body, the actors must test negative for COVID-19. Full and explicit consent must be secured from the actors involved; otherwise, actors may refuse to act or participate in such scenes.
XII. COVID-19 TESTING
A. Producers may test workers for COVID-19. Testing kits used and procured shall be the responsibility of the producer. However, DOH Protocols should be followed for the testing of workers and the interpretation of results. For the procurement of tests and further guidelines, producers may refer to the following:
1. DOH Department Memorandum No. 2020-0180: Revised Interim Guidelines on Expanded Testing for COVID-19, April 16, 2020
2. DOH Administrative Order No. 2020-0014: Guidelines in Securing a License to Operate a COVID-19 Testing Laboratory in the Philippines, April 7, 2020
B. COVID-19 Expanding Testing, defined as the testing of individuals who are at risk of contracting COVID-19 infection, may be administered to suspect cases or individuals with a relevant history of travel and exposure (or contact) whether symptomatic or asymptomatic.
C. Workers with a negative result for COVID-19 may be allowed to continue to work; however, instructions should be provided once these workers develop any health complaints or symptoms. The company OSH personnel shall continue to monitor all workers.
D. For FDA-approved rapid antibody tests, workers who test IgM negative and IgG negative or IgG positive regardless of IgM results may continue to work.
E. Workers who test IgM positive but IgG negative on the first test shall be isolated for 14 days and repeat testing on the 14th day. If the results are still IgM positive and IgG negative, the quarantine will be extended in seven-day increments, and testing will be repeated. If persistently IgM positive but IgG negative for two consecutive retesting after the first 14 day period, potential false positives may be considered, and the worker must be referred to an infectious disease specialist.
F. A Production Policy on COVID-19 testing must be formulated and agreed upon by employers and workers in conformity with the DOH protocols.
XIII. VULNERABLE WORKERS
A. For any person below twenty-one (21) years old, more than sixty (60) years old, or of any age with co-morbidities or pre-existing illness, i.e., hypertension, diabetes, cancer, or with immunocompromised health status; or with a high-risk pregnancy. producers are highly discouraged from allowing these workers to work on-set.
B. The producer must develop agreements that detail alternative work arrangements and deliverables from these workers with no diminution in talent fees or benefits.
XIV. WORKPLACE WITH IMMINENT DANGER SITUATIONS
A. In workplaces where workers are evidently at risk of infection as in health-care and other frontline services, the producer must comply with the DOH Department Memorandum No. 2020-0178: Interim Guidelines on Health Care Provider Networks during the COVID-19 Pandemic; April 11, 2020.
B. Workers in said workplaces must take extra precautionary measures, which include strict hygiene and the use of personal protective equipment (PPE). Employers shall ensure that PPE (e.g., respirators such as N95, gowns, gloves) is properly worn by the workers while at work and disposed of accordingly after use.
XV. REFUSING UNSAFE WORK
According to the FDCP-DOLE JMC, all workers shall have the right to refuse work, which they believe is potentially hazardous to their own health and safety or that of the others. All workers should also be trained on HIRAC to assess and identify occupational hazards in their workplace accurately.
Reported unsafe conditions and actions must be immediately investigated and remedied without delay by the Safety Officer.
XVI. COMPLIANCE TO LOCAL COMMUNITY QUARANTINE GUIDELINES
Without prejudice to the interim guidelines, production companies and workers must comply with the current community quarantine guidelines where the shoot is located, including curfews and such.
XVII. REPORTING OF PRODUCTION SHOOTS AND ILLNESSES/ DISEASES/INJURIES
According to the reportorial requirements of the FDCP-DOLE JMC, all scheduled production shoots (whether for film, TV, web, and other audiovisual content) must be reported to DOLE and FDCP before the shoot day. Reports of illness, disease, or injuries must also be submitted by the producer utilizing the DOLE Work Accident/Illness Report Form (WAIR).
XVIII. MONITORING AND COMPLIANCE TO THE COVID-19 GUIDELINES
For monitoring compliance with the COVID-19 mitigation guidelines, FDCP will work with the IATF and the DILG to create a coordinating and monitoring system with the following workflow:
1. Production companies will report to FDCP and DOLE on their scheduled location shoots (according to DOLE-FDCP JMC).
2. FDCP will report to the concerned LGUs where the shoot will be located (whether in the workplace, studio, on-location, or other venues).
3. The concerned LGUs will implement and monitor compliance with the COVID-19 mitigating guidelines. For violations of the same, the LGU shall impose necessary sanctions according to IATF guidelines.
4. The concerned LGUs shall send a report to FDCP on the implementation and compliance of the production shoots.
XIX. EFFECT OF FUTURE GUIDELINES FROM THE DOH
The guidelines may be amended or superseded by later guidelines from the DOH and IATF.
These guidelines shall take effect immediately.
USEC. MARY LIZA B. DINO
Chairperson and CEO
DOLE-FDCP JOINT MEMORANDUM CIRCULAR ON WORKING CONDITIONS AND OCCUPATIONAL SAFETY AND HEALTH STANDARD FOR WORKERS IN
This JMC is issued to ensure the protection and welfare of all workers in the Audiovisual Production in the Philippines. This JMC shall apply to all workers whose services are engaged in the Audiovisual Production.
DEFINITION OF TERMS
Talent refers to an independent contractor or individual who has unique skills, experience, and talents or celebrity status and whose means and methods in the performance of his/her work is outside the control of another or the hiring party, and his/her service/engagement contract is governed by the Civil Code provisions on contracts and other applicable laws, but in no case lower than the standards provided by the Labor Code, as amended;
Worker refers to any staff or member of the production which may include, but are not limited to a Director, Assistant Director, Director of Photography, Production Designer, Production Manager/Unit Production Manager, Location Manager, Technical Crew, Department Heads, Department Crew, Production Staff, and On-Camera Performers;
MINIMUM STANDARDS IN WORKING CONDITIONS
• NO CONTRACT, NO WORK POLICY. No worker shall render any service or agree to perform service for any producer who has not executed a contract consistent to the Joint Memorandum Circular as prescribed by DOLE and the FDCP.
• CALL SHEETS. These must be provided to every worker before every shoot.
• WORK HOURS. The normal work hours shall not exceed sixteen (16) hours a day in any 24-hour period. However, hours of work shall not exceed sixty (60) hours a week.
• OVERTIME. Regular work hours shall be eight hours a day. For work performed more than eight (8) hours, the worker is entitled to a 25% hourly rate unless a more favorable rate is stipulated in the contract.
Talents and their production shall have a contract stipulating the terms and conditions of engagement, which shall not be lower than the standards as provided under this JMC.
• TURNAROUND TIME. 12-hour turnaround time must be observed to allow the worker to have ample time to rest and for proper sanitation to be done between call times.
• ACTUAL WORK TIME. Waiting time, Pre-production, ocular work, and post-production work is actual work time.
• WORK CANCELLATION. The worker must be given notice 24 hours before his call time if work is canceled. Otherwise, the worker is to be paid for all contracted time.
• MEALS. Meals must be provided to all workers.
• MEAL PERIOD. Workers shall be provided not less than sixty (60) minutes non-compensable time-off for their regular meal.
• TRANSPORTATION. Adequate transportation facilities to and from the set/location shall be provided to workers.
• WATER AND COFFEE. A sufficient supply of coffee and water shall be kept readily accessible to workers at all times.
• ACCOMMODATION. The producer shall provide safe, adequate, and free accommodation to the worker if work is on distant or overnight location. The producer shall provide a bed for each worker in any accommodation set-up as applicable.
• BENEFITS. Regardless of the nature of engagement, pay and related benefits of the workers in the Audiovisual Production shall not be lower than the minimum standards under the Labor Code, as amended, and other laws, rules, and regulations.
• SOCIAL WELFARE BENEFITS. Without prejudice to established company policy, collective bargaining agreement, or other applicable employment agreement, workers shall be covered by PAG-IBIG, PhilHealth, and SSS. The production is required to provide emergency health services and access to rehabilitation and compensation of work connected to illnesses and injuries affecting worker, whenever applicable. The production is required to provide the necessary documents to facilitate the claims as required by the Employees' Compensation Program.
• INSURANCE. All workers especially stunt people, as well as equipment, shall be properly insured in every audiovisual production. For this purpose, insurance for workers shall only cover for accidents.
OCCUPATIONAL SAFETY AND HEALTH STANDARDS
- OBSERVANCE OF OCCUPATIONAL SAFETY AND HEALTH STANDARDS. Workplaces in the Audiovisual Production shall refer to the recommended and suitable OSH Program as prescribed by the FDCP in a format described by DOLE
- MANDATORY PRESENCE OF OSH PERSONNEL. Necessary safety officers and occupational health personnel shall be deployed to all workplaces and areas during the entire conduct of working hours.
- CREATION OF SAFETY AND HEALTH COMMITTEE. The production shall organize a safety and health committee in accordance with Sec.13(b) of DOLE DO No. 198 s. 2018. The producer shall ensure that all persons engaged in the production are qualified and competent to undertake the duties for which they have been engaged.
- REFUSING UNSAFE WORK. All workers shall have the right to refuse work they believe is potentially hazardous to their own health and safety or that of the others. All workers should also be trained on HIRAC to assess and identify occupational hazards in their workplace properly. Reported unsafe conditions and actions must be immediately investigated and remedied without delay by the Safety Officer.
- CONDUCT OF SAFETY OPERATION. Sufficient OSH information shall be provided to workers to enable them to perform their job safely. Irrespective of the duration of their engagement period, all those working on production shall be given an induction at each work site at which they will perform duties, especially if the locations are hazardous such as caves, pits, cliffs, or other elevated surfaces. All visitors to production shall be given sufficient information to enable them to visit the site safely.
- PROVISION ON FIRST AID. There shall be a makeshift-clinic or any other holding area equipped with a sufficient supply of first aid kit in place and readily accessible on-set or location.
- PROVISION ON PERSONAL PROTECTIVE EQUIPMENT. The workers shall be provided with the appropriate type of PPE as tested and approved by DOLE, at no cost to workers, whenever necessary by reasons of the hazardous work process or environment.
- CONDUCT OF RISK ASSESSMENT. To effectively deal with potential hazards and unsafe work practices, a risk assessment must be conducted on locations, stunts, special effects, water work, fixed-wing aircraft or helicopters, wild or domestic animals, etc. After identifying and assessing the risks, each potential hazard must be eliminated or controlled. Risk assessment should be based on the hazards and risks present in the following locations:
o BUILDINGS. Before the conduct of any activity, the Safety Officer and Location Manager must inspect the buildings to identify potential hazards and provide appropriate control measures as necessary.
o CITY STREETS. Before the conduct of any activity, the Location Manager should acquire the necessary permit from the Local Government Unit and other concerned agencies.
o WILDERNESS. The production should hire an experienced guide to help identify potential wilderness hazards (malaria, snake bites, poisonous plants, etc.) and ensure the safety of workers.
o WATER AREAS. Before the conduct of any activity, the Location Manager shall consult the local authorities and weather sources to get information about water conditions (strength of currents, flash-flood hazards, aquatic animals and insects, waste disposal sites, etc.). When working with water areas and there is a risk of drowning, the worker shall be provided with a personal flotation device or life jacket.
o ALL OTHER LOCATIONS. The protection and safety measures laid in this section shall extend to all production or portion thereof conducted in all other locations.
o EMERGENCY PREPAREDNESS AND RESPONSE PLAN. The OSH Committee must create an emergency preparedness and response plan that is tailored to the location and activity conducted. The contents and procedures of the plan must be explained to all workers.
SANITATION AND PRIVACY PROVISION
- COMFORT AND RESTROOMS. Adequate, clean, sanitary, PWD-friendly, and genderless covered and enclosed toilet facilities for all needs must be provided at all times. The number of comfort facilities for a given number of workers shall conform with the requirements of the Department of Health. Adequate flush or chemical toilets with handwashing facilities should be made available for the use of workers (crew/cast and extras) within easy access to their place of work if the shoot is on location.
- DRESSING ROOMS. Dressing rooms with privacy and comfort must be provided on location, taking into account the logistical difficulties involved. Sanitary facilities must also be provided. There must be separate dressing rooms for workers of each sex and separate dressing rooms for children of each sex. There must be adequate provisions for the proper safekeeping of worker's clothing and valuables during work, especially for background actors.
- HOLDING AREAS. A covered and enclosed holding area with adequate air conditioning or ventilation must be provided to all the workers if the shoot is on location or outside the studio. A separate covered and enclosed holding area for the technical crew, background actors, and stunt people must be provided if the shoot is on location. A seat for each worker is required within the holding area. The number of persons in each holding area must be proportionate to its capacity. Holding areas should be properly ventilated with suitable emergency escapes and seating capacity.
GENERAL SAFE WORK PRACTICES
- WORKING AT HEIGHTS. A personal fall protection system should be provided to workers exposed to a fall of six (6) feet or more to the lower rigid structure level or floor/ground.
- CONSTRUCTION-RELATED ACTIVITIES. Minimum construction safety provisions as applicable shall be observed in all related construction works/activities on the set or location.
- ELECTRICAL SAFETY. All electrical installations shall be installed by a duly certified electrician from the Technical Education and Skills Development Authority and/or supervised by a Registered Master Electrician or Registered Electrical Engineer or Professional Electrical Engineer. All other requirements in the installation, operation, use, and termination of electrical equipment shall comply with the Philippine Electrical Code.
- EQUIPMENT AND VEHICLE. All equipment and vehicles used in transporting equipment and/or personnel shall comply with all Department of Transportation (DOTr) requirements. All equipment and vehicles must display a current Safety Inspection sticker that is acceptable to the DOTr. In addition, the equipment and vehicles shall be maintained in good condition.
- ANIMAL HANDLING. Only designated Performers, Professional Trainers, Handlers shall be allowed to work with animals on productions. Anyone not directly involved in animal handling shall observe a considerable distance. For each large undomesticated animal, there should be two (2) handlers present.
- HAZARDOUS MATERIALS. The individual having control of or being in possession of any hazardous material shall notify the production or cause them to be notified and advise the Producer and Safety and Health Representative of the location, purpose, and hazards of the same. It is the responsibility of the Safety Officer to ensure that hazardous materials are clearly marked and safely stored until use. Hazardous materials should only be used under the direct supervision of an experienced individual knowledgeable in its effect and potential hazards.
- FIREARMS AND WEAPONRY. Only blank ammunition shall be used when working with firearms. Live ammunition shall not be used in production. Workers involved in the use of firearms shall be properly trained by a professional. Appropriate PPE shall be provided as necessary.
- STUNTS AND SPECIAL EFFECTS. All stunt performers shall have the necessary qualifications, experience, and expertise to manage the risks associated with performing the stunt. The producer shall ensure that a stunt/special effects coordinator is present at all times during a stunt/special effect. The stunt/special effects coordinator must have the competency relevant to the tasks involved in creating and carrying out the special effect/stunt.
- In accordance with the reportorial requirements of the OSH Standards, the producer shall submit to the Regional Offices the required OSH reports, including the notification of shooting location and schedule to the DOLE Regional Office having jurisdiction over the location and to the FDCP.
COMPLIANCE AND ENFORCEMENT
- Compliance with labor standards shall be enforced by the DOLE-Regional Office, which has jurisdiction over the workplace in accordance with the provisions of Article 128 of the Labor Code as amended, DOLE DO No. 183 s. 2017 and RA No. 11058 and its Implementing Rules and Regulations.
- DOLE shall deputize the FDCP and all relevant government agencies or instrumentality in all activities relative to inspection of all workplaces in the Audiovisual production, including set or location to ensure compliance with and enforcement of the provisions of this JMC.
RIGHT TO SELF-ORGANIZATION AND COLLECTIVE BARGAINING.
- Workers in the Audiovisual Production shall have the right to form, join or assist in the formation of a labor organization of their own choosing for purpose of collective bargaining and to engage in concerted activities that are not contrary to law.
CONCILIATION-MEDIATION THROUGH THE SINGLE ENTRY APPROACH (SEnA)
- All issues involving the engagement of workers in the Audiovisual Production, such as disciplinary measures, suspension, and termination, shall be subject to the initial grievance mechanism as established by the FDCP. In unresolved, it shall be elevated to DOLE for the 30-day mandatory conciliation-mediation through the SEnA.
- Policy and programs on the prevention of sexual harassment in the workplace shall be developed and implemented in conformity with RA No. 7877 and RA 11313. It shall be the duty of the producer and members of the production to prevent or deter the commission of acts of sexual harassment and to provide the procedures for the resolution or settlement of the same. This procedure is without prejudice to the filing of appropriate criminal cases for the prosecution of offender/s in violation of the law.
EFFECT ON EXISTING COMPANY POLICY AND CONTRACTS OR COLLECTIVE BARGAINING AGREEMENTS
- The minimum benefits reiterated in this JMC shall be without prejudice to any company policy, contract, or Collective Bargaining Agreement, providing better terms and conditions of engagement.
- Penalties for non-compliance to safety and health standards shall be dealt with in accordance with the provision of RA No. 11058.
- All other penalties for non-compliance to the provisions of Section 4 of this JMC shall be imposed by the FDCP in relation to Section 15 of RA No. 9167.
- The penalties herein are without prejudice to the filing of appropriate civil and criminal cases for the offender/s.