Regarding that bridge in L.A ( The 4th street bridge), these days, the graffiti problem would probably be ignored, and no painters would be involved. Once the editing is getting close to a final cut, then they would "fix it in Post".
That translates as " Using computers, they'd digitally 'Paint out' any graffiti that appeared during 'Post Production'. Early on, Post Production didn't often fit into commercial work, partly because of the expense, but also because the commercial might be airing on TV within a week or two, which didn't leave enough time to fix the footage, frame-by-frame, painting out the slobber.
However, as the post production side of the business expanded exponentially (They are independent contractors- "Post Houses" in the vernacular), and the software continued to advance, then getting rid of graffiti became very simple.
With a group of painters, even though the bridge would have been scouted at least twice by the Director, the Producer, and I, and then again with 'everybody' on the Tech Scout, you'd have to error on the side of painting most all of it, because on the day, the part of the bridge that may have been confidently described as ' Ah - don't sweat that end of it, we'll never see any of that down there...' would suddenly be front and center in the shot, and all of that painting that you were told to avoid was now a necessity and there would be no time to properly do it. You get used to it, so you paint everything beforehand. Then, overnight, the Morlocks would come out of the sewers, with a pressing need to scrawl 'LiL Joker', 'Klak !' or some other essential dreck all over the bridge, because that is what they must do, or something. We'd have L.A.P.D. with us at times, because taggers can be violent vermin that don't want their tags painted over, and there were good reasons to be cautious.
By leaving the graffiti untouched until the commercial is in Post, then you are only fixing whatever segments of the bridge are actually going to be a part of the finished project. So,'on the day', it does not matter where the camera goes or what it sees - you are shooting all day, or maybe 4 days at different locations, just to have plenty of footage to whittle down to a 30 second or a 60 second commercial.
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