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CASE STUDY: "People of the Great Water": How to Shoot an International Documentary During a Pandemic Without Borders
Teaser
The film "People of the Great Water" spans five countries and three oceans, telling the stories of those whose lives belong to the sea. Behind the scenes lies complex logistics, filming under COVID-19 pandemic conditions, an international team, and working without major sponsors. In this case study, we explore how the creators navigated all the restrictions and still produced a film recognized by international festivals.
What the Film is About
"People of the Great Water" is an author-driven documentary by Andrey Kirsanov, filmed in five countries during the pandemic. The main characters are surfers, sailors, and artists connected to the ocean. Despite COVID restrictions, a team of 19 specialists completed the international film project, which has been recognized at more than nine festivals.
The Goal and Reason
To create an author-driven film about people of the ocean—a personal vision of director Andrey Kirsanov. The starting point was an idea born in the Multinsky Mountains of Altai: to show freedom through those who live by the sea. The project required filming in various countries (the UK, Portugal, French Polynesia, Russia) amidst a pandemic and with limited resources.
How the Film Was Made
Stage 1. Idea and Script
The idea for the film originated in the Altai Mountains. Andrey Kirsanov formulated the concept through personal reflections on freedom, loneliness, and interaction with the elements. The script was formed based on the biographies of real heroes—each episode was adapted to their actual lives and locations.
"You can't fake the ocean. You can only show it honestly," says Andrey Kirsanov.
Stage 2. Assembling the Team
The team grew gradually: from two people—Kirsanov and cinematographer Roger Edwards—to 19 specialists. The selection principle: professionalism and personal commitment.
Editor Elena Filatova joined remotely:
"I enjoyed the footage from all over the world. Even Portuguese wasn't a barrier—it was a challenge I wanted to accept."
Videographers from Portugal, an underwater cameraman from Tahiti, and sound engineers from Russia—each was brought in either through recommendations from the film's subjects or found via international platforms (like LinkedIn).
Stage 3. Locations and Filming Base
The film was shot on open water, yachts, and in workshops—the entire organization was built around the natural environment of the heroes:
Falmouth, UK—filming Sir Robin Knox-Johnston on the legendary yacht Suhaili.
Nazaré, Portugal—surfer and rescuer Sergio Coshme.
Isle of Wight—marine artist Martin Makrill.
Preparation included:
Local filming permits in different countries.
Creating a mobile filming base.
Working in extreme conditions: filming from boats, from attics, and from the air (drones).
"We filmed on location—in the heroes' element. This was critically important for authenticity," Kirsanov emphasizes.
Stage 4. Equipment Selection and Use
The choice of equipment was dictated by flexibility:
Compact Blackmagic Pocket Cinema cameras for mobility and quality.
DJI Mavic 2 Pro drones for aerial shots—due to their stability in windy conditions.
Underwater housings—for filming in Tahiti.
The reason for this choice—ease of transport, the ability to film in any conditions, and post-production on remote stations.
Stage 5. Post-Production and Translations
Editing took place in Moscow, London, and Limassol. Work was conducted in cloud storage and via VPN due to platform blocks and sanctions.
Video files were exchanged via alternative file-sharing services.
Voice-over and subtitles—in three languages: English, Portuguese, and Russian.
Translations were carried out by Vyacheslav Eliseev's team:
"It was an act of building a cultural bridge. The translations were done with respect for the author's tone and the heroes' way of thinking."
Stage 6. Finishing, Color Correction, Sound
Color correction—done by hand, with an emphasis on the natural colors of water and sky.
Sound—adapted to the atmosphere of each location (ocean, harbor, storm).
Music—mostly original, created by a composer from St. Petersburg.
Obstacles and Challenges
COVID-19 Pandemic
Canceled flights, closed borders, local quarantines. Filming was sometimes postponed.
Strict protocols for filming in public places.
Technical Difficulties
One of the drones fell into the ocean.
Extreme weather conditions: filming in 90 km/h winds and waves up to 18 meters high in Nazaré.
Result

The film became a participant and winner at nine international film festivals, including the Cannes World Film Festival, Frames of New York, Anatolia IFF, and others. It garnered positive reviews from audiences and critics and also opened up opportunities for international promotion for a new documentary series.
"Fantastic editing, stunning cinematography. You did everything right," — Martin Makrill.
"It's a great sea story. It begins majestically—and ends with a wave," — Roger Edwards.
The project became a living example of how a personal idea, the right team, and perseverance can overcome any barriers—from quarantines to the forces of nature.