Creating a relaxed atmosphere for child actors in a Covid-19 world was no easy task, says exec producer Caroline Cherry-Roberts

The World According to Grandpa

Production company: Saffron Cherry Productions & Grandpa Productions
Commissioner: Louise Bucknole, ViacomCBS UK’s vice president of kids programming, with support from the Young Audiences Content Fund
Length: 11 x 25 minutes
TX details: Saturday 28th November 9.40AM Milkshake! Channel 5
Creator and Writer: Chris Heath
Executive Producer: Caroline Roberts-Cherry
Director/Producer: Alex Jacob
Other key people: Kay Benbow, Tayo Akinbode, Dominic MacDonald, Nicci Topping and Martin Riley, Simon Partington
Production Services: The Nest
Distributor: Beyond Distribution
Post-house: Flix Facilities

Channel 5 kids strand Milkshake! commissioned this live action show with 2D animation and puppet in October 2019 but we still needed to pull together the final finance package. 

We felt the project’s values, diverse cast and crew fitted perfectly into the core aims of the BFI-backed Young Audiences Content Fund (YACF) and at the same time wanted to pitch and make a Welsh language version for S4C with our production partners Boom Cymru. 

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So this all came together. 

Having a second language commission from the outset was invaluable in designing the production process, which also boosted the show’s appeal to our distributor as we could offer two versions of the same show for tape sales, plus a format change option, should Spain, for example, want to re-make with a Spanish Abuelo and grandchildren. 

One year later, we were filming during a tight Greater Manchester lockdown, which of course threw up challenges we could never have dreamed of in October 2019. 

Our star Don Warrington was filming BBC1’s Death in Paradise (for which he plays Commissioner Selwyn Patterson) and got caught up in a 14-day quarantine on return from Guadeloupe. 

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Death in Paradise producer Red Planet and Pact were so helpful on these processes and we were advised Don could travel and then work after being tested, within an extended quarantine bubble between his place of residence and work. 

Meanwhile, series producer Dominic MacDonald and director Alex Jacob’s daughter, Holly, produced an illustrated studio guide for the children, which explained the process and integrated the Covid-19 information, so that it became ‘How we make TV’ for the kids. 

Shaping the atmosphere 

We were so mindful that being surrounded by mask-wearing adults with so many rules in place could impact the performances of our child stars. 

It was therefore essential that we created a relaxed and fun atmosphere on set, and this was driven by Don on the sofa, who supported each child with their performance. 

“Director Alex had a seemingly inexhaustible supply of dad jokes (and dances) to keep the kids’ energy up”

Our puppeteer Julia Frost was also on board to keep them entertained with our rabbit puppet Halifax (voiced by Sally Lindsay) and director Alex had a seemingly inexhaustible supply of dad jokes (and dances) to keep their energy up. 

We also had full animatics to show to the children – from fire-breathing hamsters to rhubarb loving monsters, which made the world of Grandpa feel more real. 

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We minimised the number of people on set and grouped the guys into cohorts with the sofa gang (Don, the kids, the puppeteers and Carol from hair/make-up/wardrobe) being the one close cohort who were allowed to be closer to each other than the rest. 

We provided a studio feed for those not on location, which quickly developed into a surprisingly focussed way of giving notes either from me in Manchester, story executive Kay Benbow in Buckinghamshire or creator Chris Heath in Greece. 

We could then easily share how we physically made the show with Boom Cymru, with no need to travel. 

My tricks of the trade

Caroline Roberts-Cherry, executive producer 

  • Caroline Roberts-Cherry

    You will be spending a lot of time talking to your lawyer about contracts so make sure they can talk human as well as legal
  • Work with people who have a sense of humour, obviously it helps on a comedy but especially when things go wrong.
  • Covid-19 protocols should be created and owned by the whole team, don’t force one person be the Coronavirus policeperson.
  • Diversity is not an add-on, nor a synonym for entry-level.
  • A happy team is a complete team.

Although there was a massive amount of planning that went into the shoot, we also had some luck. 

One of main puppet Halifax’s ears stopped working but this took place before our single dark day. 

So, Halifax was driven to the set of Spitting Image to be repaired by her creator Andy Heath from Talk to the Hand Puppets, during his lunch break.

All our usual drivers/ runners were busy, so we used a locally recommended driver, who coincidentally had 20 years close protection on his CV. I think we all liked the idea that Halifax had a bodyguard the single day she was out of our sight. 

Having wrapped, I had just finished a celebratory glass of fizz in the bath when Death in Paradise series producer Jim Poyser sent me a howler of a text: “Don has just told me your make-up team have dyed his hair permanently red. This won’t work for us”. 

Luckily, we sorted it, because that’s what we do in TV. And Don flew back to Guadeloupe as the Commissioner, no longer Grandpa. 

Creating a one-size-fits-all kids show

Martin Riley, technical producer

The challenge was to film in such a way that the show could be reproduced in any territory without the need to re-animate everything – taking a ‘kit of all parts’ approach. 

Martin Riley

With this in mind, animation was created so that sections could expand or contract to allow for differences in speech patterns in varying territories. 

Producers will be able to translate the episodes, shoot their own live action elements and simply drop them into the existing animation using a dynamic post-production framework. 

This allows for subtle differences in durations across territories and performances. 

In addition to this, due to the pandemic, we had a very compressed delivery schedule - just six weeks from shoot to delivery. This required a bespoke approach all the way from pre-production to finishing. 

All episodes were boarded, illustrated and taken to the animatic stage ahead of filming using footage from Zoom readthroughs with the cast. 

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Filming was based around a five-camera ISO fixed rig set-up against a green screen. Sound was recorded via a custom sound array built into the light rig, with radios for back up. The lighting stage was pre-programmed to aid a smooth post workflow 

The set was raised to enable puppeteers to work underneath the sofa. In the studio, the puppet voice was delivered live by the puppeteer, Julia, and Sally Lindsay synched her voiceover in post. 

For monitoring, we designed four mini galleries so each department could punch up any camera from their own Covid-19 safe area. 

We also had live keying set up so the director and cast could understand better their surrounding world. Finally, we set up a secure live remote multi-camera feed so we could keep numbers physically in the studio to a minimum.