Like all itv, shows dancing and ice is a challenging show to make, even in the best of times and now during covid to get the show on air has been a massive undertaking. The cast joined the show in october and with six months until the final, countless things have been put into place to make sure that the show goes on keep those knees bent since october, the celebrities and us pros have been put into cohorts.
This is an industry-agreed approach to support people being within two meters of each other, which means that the entire cast has to be careful about who we mix with hi andy hey. Even our married couples have to stay two meters apart at all times: [ Music ].
Anyone in a cohort is tested every week with tests happening across the uk. We are avoiding public transportation at all costs, so it’s, either taxis or driving ourselves to work. The studio here at bovington looks very different to a normal series.
First drop of the day temperature check good morning, thank you and throughout the site the team has adapted to make sure that everyone is safe. I’m katie and i’m. The line producer – and i put the budget and schedule together, but i’ve, also been working really closely with editorial about how to make the show in a coat environment, to keep everyone safe in the office.
We put up these screens that section off your work area, because we’ve got such a big cast on dancing on ice. We’ve had to create covered secure routes around site so that the talent don’t cross over with any of the team.
At any point, fine, unless the cast are filming or skating, they must be in a mask at all times. We’ve, had extra cleaners, we’ve, nearly tripled our cleaning budget to have cleaners going around cleaning touch points and all the additional water cabins around site.
The glam team are at the center of dancing on ice and they have adapted too marcus. How have you had to change the way you actually apply makeup and do people’s hair, so each makeup artist and each hair person will look after two couples and they create a bubble.
So both hair makeup teams and wardrobe are wearing masks, visors or a goggle. We created individual kits for everyone, because one of the things that i thought it was about cross-contamination your team, that’s behind you any difficulties.
You know what it course is challenging and trying to organize a show, this big with all the new rules and regulations it’s tough. However, we have a fantastic team in hair and makeup i mean the whole team in this show is fantastic and you’re still going to make us look fabulous.
You are going to look fabulous that hairspray smells nice. The wardrobe department has had to rethink their approach to this series as well. How challenging has it been for you guys? The logistics of making things to when it goes on? The bodies sometimes is difficult, because we we have to let things sit for a certain period.
Just to make sure that there’s, nothing on it previous series. There’s, been loads of people, backstage sort of hair and makeup, and then wardrobe everybody. We just kind of stand there and everything is done for us.
Quick changes are not going to happen this year. Is that right, not really? So in previous years we had a lot of extra dancers, pro skaters in the back of numbers, and but that’s, going to obviously have to go away this year because of the two meter distance in.
So it would be up to you guys really to be ready on time get dressed when we ask you to get dressed and then, as long as we’re only within close proximity through 15 minutes, someone’s, got advisors, masks and All that jazz we can come in and stitch you in and make sure we don’t get any malfunctions.
Is the viewer at home gonna actually even notice the difference? No, hopefully not no loss of quality and no loss of sparkle. That is the aim of the game. Everything takes a little bit longer with social distancing, and that includes the rig time of the studio.
Each department would normally all work at the same time, however, this year they all have department days to get the set lighting and sound in and our dancing and i studio, had to be revamped for coved times once built.
The doi studio will hopefully feel the same, but will be very different. The redesign has been led by production designer dom tulse. We’ve, still got a load of lighting and all the set pieces and the light boxes and stuff that can animate.
So it’s, never going to feel empty, which i think is the key thing for you as a performer. It’s, really difficult. If you’re performing to nothing, yeah is the judge’s desk still going to be the same, so we’ve, put a perspex screen between each judge, a regulation distance so that everyone’s happy, but The desk has got a little bit longer.
How much of a challenge has it really been to get the show on air? I think it’s pushed everybody to the limit. You know at the end of the day. All of these things, teamwork, absolutely so tell us, are people at home.
The viewers are. Are they going to see much of a difference with dancing on ice? No, it’s, still going to look fabulous. Even philip and hawley’s. Positions will have to change as they are not in a cohort and need to stay at least two meters apart.
So there will be a separate camera rehearsal to make sure that the new positions and the studio all work seamlessly. The pro numbers are an integral part to dancing on ice, so we needed to find a way for pros to skate together in order to keep everyone safe, we had to form a bubble which we did at the end of last year.
This is so we could film all the professional numbers ahead of time. A huge part of downtown ice is the pro numbers i am so proud of the team, all the skaters and everyone together, i feel like we’re, going to produce the biggest show we have ever ever seen.
Everything has been done both behind the scenes and in front of the camera to make sure that dancing on ice is safe, but still as fabulous as ever see you on the ice. [, Music ], you
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