ATS on filming in Asia
From Ninja Warrior to the Amazing Race, ATS has worked on it all. Based in Los Angeles, the production service company specialising creating original formats, designing, and constructing television competition obstacles and sets have worked with industry names such as NBC, Hulu, Disney and many more. With wide spread experience shooting across Asia, we spoke with ATS chief operating officer Danny Sanz on the logistics of filming across the countries, how the local industries are benefitting from the international production presence, and what production teams need to know about coming to the continent.
Last year saw a production industry boost with incentive rises in India (40%), the Philippines (25%) and Thailand (30%), making filming in Asia even more enticing for international filmmakers. With announcements of Netflix’s Japanese and Korean romance series currently in production and set for streaming screens in 2025, White Lotus’s move to Thailand for season 3 filming and the sequel to Crazy Rich Asian rumoured to take over the Philippines, Asia is a continent full of activity. For ATS, a company with a longstanding relationship with Asia, there is nothing like working in the East.
What are some key highlights about filming in Asia in your years of filming there?
Even if is not specifically related editorially to the country, the culture of the country is prevalent. Some of the times even though the country is not mentioned, you cannot deny the environment of the country you are filming in with the showcasing of such impressive locations. It’s very easy to work in Asia and source resources, and of course its inexpensive in comparison to filming in the West.
How does the filming experience differ from region to region?
There are some regions that are more developed. With big cities, there are virtually no issues, but with the more remote locations, the first rule for foreign filmmakers is do not expect the same level of comfort, facilities and resources. So there is definitely a need to adapt in certain situations. But whilst there may be challenges, it is very easy to arrange for things to run smoothly. For example in countries like Laos, Cambodia or Nepal, camera equipment might be limited but it’s very easy and quick to source the equipment from neighbouring countries like Thailand or Taiwan or other hubs in the region. This is also the same for crew.
When travelling across Asia, ATS are equipped with their usual roster of well trained crew who can easily adapt to the local mentalities of work to help facilitate production. But whilst Sanz highly remarks on the benefits of having their expertise on board, he also highlights the impact of such on integrating and working with the local crews, as well as establishing mutual learning between the two teams.
What is the priority of forming a relationship with local crew?
It is essential for us to develop that relationship with the local crew. I myself have been to Vietnam 11 times, always working with the same crew, so it creates a highly valuable connection and loyalty. On a local level, there is an understanding developed of western production needs and for us, its easier for us to pass on our experiences working with the local teams so that international teams are equipped to integrate with the local industry.”
ATS is like a universal plug adaptor, we plug into the local culture and in turn allow the local industry to plug into our expertise.
How do you facilitate working across the different countries and culture?
Every country is different, with their individual languages and unique locations. But in developing our own relationships during our work, as well as working with the Association of South East Asian Nations (ASEAN), we have been able to draw elements from each region to bring the quality to each project, whether its bringing talent from the Philippines to film in Thailand, or navigating locations.
Images courtesy of ATS
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