Task 1
The British Film Institute and Film4 are both popular film industries in the UK
The jobs that are available in these industries are story-boarder, script writer, prop designer, talent, graphic designer, editor, director, director of photography, cinematographer, animator, technician, grip, camera operator, vision mixer, sound engineer, VT operator, cable basher, PA and runner.
These jobs are mainly full time.
The skills needed are development, production, post production, distribution and exhibition. Also, qualifications are important for this.
To get these qualifications there are many courses in media, and film, that can teach the basic skills, such as Nation Media Extended Diploma, or even A levels, like film studies or TV production.
Film4
Film4 is free to watch for any Digital TVs and has a wide range of titles (US independent films, Hollywood Blockbusters, mainstream drama and comedy, guilty pleasures, foreign films and cult cinema; it is the most widely available free-to-air film channel in the UK.
This film company is a production house and channel with the respective purpose of producing and broadcasting alternative films.
This company also nurtures and funds new talent, like actors, or even directors and it offers a distinctive range of mainstream and independent films of all dedicated film channels in the UK
Winning five Oscar Awards in four years and 3 Bafta Awards in 2007, alone, Film4 has an incredible reputation for making and showing alternative and challenging films.
Reading 8.3 million ABC1s a month and with an upmarket (42%) and male (55%)
Profile Film4 can help to access an inquisitive and demanding audience.
Film4 is coming up for sponsorship with Channel 4 Network and Watch Films, and Film Four Daytime.
This channel is widely available on many TV packages; Sky TV, Freeview, Freesat,
Virgin Media Cable.
This channel screens six films a day, with a new film beginning every two hours,
between 3 PM and 3 AM.
The jobs available at the moment at Film4 are only for Runners.
The Head of Film is Debra Hayward.
Film 4 is responsible for backing and helping to fund a large number of films, including '127 Hours', along with Pathe, Fox Searchlight Pictures, Could Eight Films, Darlow Smithson Productions and Warner Bros Pictures, and 'Attack The Block', with Big Talk Pictures, Studio Canal and UK Film Council. They also helped to fund many more.
British Film Institute
“Because films inspire… art”.
The jobs available at the British Film Institute is a Vaults Assistant, who is responsible for retrieving, transporting and re-filing film, video and digital assets forming the holdings of the BFI, National Archive, exercising the highest standards of collections care.
The BFI is partnered with several on-line platform to make dozens of exceptional films. These sites include – http://www.jaman.com/ --
The British Film institute members are entitled to a free film download each and every month.
BFI promotes an understanding and appreciation of film and television heritage and culture, established in 1933, the BFI runs a range of activities and services.
BFI is located at BFI Southbank (previously the National Film Theatre), and screens over a thousand films a year. BFI Max on London ’s Southbank has the largest cinema screen in the UK
The BFI runs the annual London Film Festival as well as the London Lesbian and Gay Festival, each year.
The British Film Institute publishes the monthly film magazine ‘Sight and Sound’, which features commentary and analysis, in depth reviews and full credits for all new releases.
BFI publishes a wide range of books on the subject of films and television, along with a range of films on DVD and Blu Ray, including World, Silent and Documentary cinema and archive television.
The British Film Institute has funded and will fund many different films, including that of 'Great Expectations', which received 2 million in production funding and 35, 000 in development funding.
http://industry.bfi.org.uk/filmfund
Above is a link, which has a lot of information about the BFI Film Fund and applications to it.
Task 2
Legal and Ethical Constraints
What is Legal?
- Areas under the law.
- In accordance with all the relevant rules as set by the government of the land.
What is ethical?
• Intruding on individual privacy: is it in the public interest?
• Premium rate phone competitions.
• Presenting and individual or their views as representative of an entire group of people.
• Using hidden microphones or long lens cameras.
• Interviewing vulnerable people.
• ‘off the record’ material.
• Offensive or insulting.
The BBFC have banned a great number of films from being aired in the cinemas, since 1967, because of their supposed indecent content; this is quite often because people are being shown sexually at under the age of 18.
Films which are unsuitable for children must be shown after the watershed, so that if children do see it, it isn't the responsibilty of whoever aired the film. This is because indecent content shouldn't be seen by children, and therefore, is not allowed to be aired during the day.
There are a lot of films being downloaded from the internet nowadays, in order to attain the for free. A lot are downloaded to MP3, so that they can be watched on an MP3 Player or iPod. This is illegal, rather than ethical, because no money is being given toward the film.
There's a film company called 'Asymlum', which is an American distributor, which produces straight to DVD films. The films they make often are named after major film productions, but have a slightly different twist to it, such as 'Battle Los Angeles', which was named by 'Asylum' as Battle of Los Angeles. They are only slightly different, but this way they can get away with the legal restraints.
Task 3
Understanding the Regulations of the Media Sector
film and video releases in Britain
These guidelines are based on two main factors: legal requirements (for instance, unsimulated animal cruelty, indecent images of children) and the BBFC's own policies. The latter have changed enormously over the last century, ranging from rigidly applied lists of forbidden topics to the current context-based system where artistic merit is a key factor in assessing individual films.
Regulatory Bodies
http://www.bbfc.co.uk/ – British Board of Film classification.
Contact: General question to the BBFC (switchboard) : 020 7440 1570 -- Feedback.
Press and Media enquiries (Sue Clark): 020 7440 3285/ 07946 423719 --Sue Clark.
Queries from submitting companies: 020 7440 0299 -- Customer Service Line.
Finance and Account queries: 020 7440 0370 -- Finance and Accounts.
Student Seminar Bookings: 020 7440 1586 -- Student Seminar Information.
Booking the preview theatre: 020 7440 1590 -- Preview Theatre.
Questions about our website: 020 7440 3299 -- Queries about our website.
What they regulate: Examiners look at issues such as discrimination, drugs, horror, imitable behaviour, language, nudity, sex, sexual violence, theme and violence when making decisions. They also consider context, the tone and impact of a work (eg how it makes the audience feel) and even the release format (for example, as DVDs are watched in the home, there is a higher risk of underage viewing).
http://www.bafta.org/ – British academy of film and televisions arts.
Contact the BAFTA's To send us comments about the website please email website@bafta.org
You can also contact us by submitting an enquiry form.
195 Piccadilly London W1J 9LN
Tel: +44 [0]20 7734 0022
Fax: +44 [0]20 7734 1792
E-mail: info@bafta.org
Is promotional for people to belong to and supports the idea of excellence in the film industry, by giving out the Bafta award.
http://www.launchingfilms.com/ – Film Distributors Association.
If you have a general query about 020 7734 0912 – Fax on.
FDA liaises and works with many individuals, companies and organisations. FDA's Council, or board, comprising a senior representative of each member company, normally meets six times a year and considers only matters of generic interest to film distributors.
www.ivca.org – International Visual Communications Association.
Telephone on -- +44 (0) 20 7512 0571
Fax -- +44 (0)20 7512 0691
The International Visual Communications Association exists to represent its members to Government and other stakeholding bodies and to promote effective business and public service communications of the highest ethical and professional standards.
The Association aims to be a centre of excellence for best communication practice and works with production companies, freelancers, support service providers and clients of the industry to represent their interests and help maximize their competitiveness and professionalism.
The IVCA is the largest professional body of its kind in Europe with 1000 production members and 1500 Client Associates who commission business solutions from the industry.
Task 4
· Development - the writing, packaging and financing of film ideas and scripts.
· Production - the process of setting up and shooting every scene in a film.
· Post Production - where all these shots are assembled, treated and mixed into a finished product.
· Distribution - the process of selling this product to audiences, via the cinemas, retailers and rental firms.
· Exhibition - the cinemas which screen the film for the general public.
There are literally hundereds of different jobs in the UK
Jobs in the media industry
· Accounts
· Camera
· Casting
· Catering
· Costume
· Lighting
· Music
· Props
· Script
Creative Roles
Story-boarder, scriptwriter, prop designer, talent, graphic designer, editor, director, director of photography and cable basher.
Technical Roles
Graphic designer, animator, technician, grip, camera operator, editor, vision mixer, sound engineer, director, director of photography, VT operator, cinematographer and cable basher.
Production Manager
Researcher, grip, director, personal assistant, runner, cinematographer and cable basher.
Film Director
SkillsDirectors must have exceptional artistic vision and creative skills to develop an engaging and original film. Unerring commitment and a deep passion for filmmaking are essential, along with the ability to act as a strong and confident leader. Directors must constantly make decisions, but must also be able to delegate, and to collaborate with others. Excellent communication and interpersonal skills are vital to get the best from the filmmaking team. Directors must inspire and motivate the team to produce the film they have envisioned. They need an extensive understanding of the entire filmmaking process, from both technical and creative points of view. A capacity for long hours of intensive work, attention to detail, and the ability to remain calm and think clearly under great pressure, are key skills for this role. Directors also need great self-belief and the determination to succeed.
Qualifications/Experience
While there are numerous training courses and reference books on directing, formal qualifications are not necessary to become a Director. Studying the art and craft of directing is important, but the role can only really be mastered through in-depth practical experience. Writing a screenplay, directing one's own short film or an amateur play, are all good starting places. Extensive industry experience is also crucial to this role; up-to-date knowledge of filmmaking techniques and equipment is vital, as is learning how to work with actors to create a performance.
As many Directors work their way up over many years from entry level positions, getting work experience as a Runner on a film set or in a production office is an ideal starting point. Observing successful Directors at work, whilst immersing oneself in the practical process of filmmaking, are vital first steps on this fiercely competitive and highly challenging career path.
Production Sound
Recording all sound on set or on location is the work of the Production Sound Crew which includes Production Sound Mixers, Boom Operators, and Sound Assistants; on bigger films, Sound Trainees may also be employed. Although film is considered a primarily visual medium, much of the storytelling and emotional resonance of a script is conveyed through dialogue.
Ensuring that the dialogue recorded during film shoots is suitably clear is a complex job; most film sets are challenging for the Sound Department as there are often unwanted noises to deal with, or the desired camera shots hamper the placing of microphones.
Although it is sometimes easier to re-record dialogue after the shoot (post-syncing), most actors and Directors prefer to use the sound captured on set or location. Production Sound Crews also record atmosphere (without dialogue) or “wild” tracks on set or on location to assist the Post Production Sound department during the editing process.
Ensuring that the dialogue recorded during film shoots is suitably clear is a complex job; most film sets are challenging for the Sound Department as there are often unwanted noises to deal with, or the desired camera shots hamper the placing of microphones.
Although it is sometimes easier to re-record dialogue after the shoot (post-syncing), most actors and Directors prefer to use the sound captured on set or location. Production Sound Crews also record atmosphere (without dialogue) or “wild” tracks on set or on location to assist the Post Production Sound department during the editing process.
All members of the Production Sound crew need a thorough knowledge of acoustics, electronics, microphones and digital sound recording equipment, precise attention to detail, and excellent communication skills. They usually acquire some basic sound recording skills before starting out at junior levels within Production Sound departments and eventually progressing to become Production Sound Mixers.
Jobs Available
Job Title: Online Editor and Technical Manager
Reporting to: Production Manager
Contract: Permanent
Hours: Full Time
Salary: £32,000 per annum
CRB: Not Essential
Reporting to: Production Manager
Contract: Permanent
Hours: Full Time
Salary: £32,000 per annum
CRB: Not Essential
Media Trust background:
At Media Trust we believe that everyone should have a voice and the opportunity to be heard.
At Media Trust we believe that everyone should have a voice and the opportunity to be heard.
We are the UK Ireland
We work with media organisations and charities to enhance their communications and enable communities to find their voice and make it heard. We offer a broad range of marketing and communication resources and training, free professional support from media volunteers and mentors, film and content production, funding for media projects, and the national digital TV and online channel, Community Channel.
Job description
Join our award winning production team at an exciting time when we are looking to grow and expand. We have a range of high-profile clients well as many smaller charities and some corporate clients. We are looking for someone to lead and expand our post-production services.
Join our award winning production team at an exciting time when we are looking to grow and expand. We have a range of high-profile clients well as many smaller charities and some corporate clients. We are looking for someone to lead and expand our post-production services.
You will join our production team to ensure a smooth workflow of media from camera to client for all of our projects. Reporting to the Production Manager you will manage our Final Cut Pro and Avid edit suites providing technical support and advice to editors when needed; manage and maintain camera/sound equipment and prepare kit for shoots. Your responsibilities will also include the online, grade, mix and package of short films for our youth Talent Studio project for transmission on the Community Channel. Leading our duplication service you will be responsible for delivering quality digital files and DVDs to our clients and business development in this area.
Key responsibilities
- Day to day management and maintenance of edit suites, rushes and production kit (including cameras, sound, lights etc)
- Design and implement post production systems to ensure smooth workflow of our projects
- Online, grade and sound mix short films on Final Cut Pro and package them from transmission on the Community Channel
- Provide in-house technical support to freelance editors
- Recruit, train and manage technical intern
- Supervise tapeless workflow from HD cameras to edit suites and occasional SD tape workflow
- Manage back up and archive of tapeless content including long-term rushes storage
- Encode / transcode video for different delivery platforms
- DVD authoring, basic design and packaging and associated admin
- Client liaison and business development
- Research and purchase new edit and shoot kit as required
- Supervise kit booking schedules, kit maintenance and hire kit for shoots as necessary
- Manage budget line for kit, stock etc and maintain stock levels
- Manage productions masters library and supervise all duplications and transfers
- Respond quickly and effectively to all inquiries and provide telephone support to freelancers on shoots when needed.
Person specification
- Proven experience of online editing a range of television and digital content.
- Proven skilled use of Apple’s Final Cut Studio suite of video post production tools and a good working knowledge of AVID Media Composer 5 for all aspects of post production from material ingest to final master export and project consolidation
- Knowledge of current TV post production processes and technology
- Knowledge of Adobe After Effects and Photoshop
- Experience of DVD encoding, authoring, menu and ideally cover design.
- A flexible solution-based approach, and a good team player, including skills to manage interns
- Entrepreneurial instincts and business development skills
- Must be an excellent trouble shooter who proactively responds to requests in a calm but speedy manner
- Have good technical knowledge of HD tapeless workflow from Sony EX3, Z7 and DSLR cameras and have a keen interest in keeping up-to-date will the latest technical developments in camera and editing equipment/software
- Have significant experience of using EX3 and Z7 cameras, sound kit and lights and the ability to set-up, test and trouble shoot this equipment
- Knowledge and understanding of compression codecs and digital file encoding
- Hardworking and flexible work ethic.
- Excellent communication skills across all levels of an organisation, both written and verbal.
- Computer literacy to a high level
- Able to achieve results and focus on deadlines
- Commitment to equal opportunities and the aims and values of Media Trust.
Job Title: Scheduling Manager, Community Channel
Reporting to: Channel Editor
Contract: July 2011 to July 2012 (maternity cover)
Hours: 09.30 a.m. to 5.30 p.m. Three days a week
Remuneration: £19,584 per annum (i.e. based on £32,640 pro rata)
CRB: Not required
Media Trust background:
At Media Trust we believe that everyone should have a voice and the opportunity to be heard.
At Media Trust we believe that everyone should have a voice and the opportunity to be heard.
We are the UK Ireland
We work with media organisations and charities to enhance their communications and enable communities to find their voice and make it heard. We offer a broad range of marketing and communication resources and training, free professional support from media volunteers and mentors, film and content production, funding for media projects, and the national digital TV and online channel, Community Channel.
Job description
The post holder will be responsible for delivery and management of programming and presentation schedules for Community Channel. The ability to move between programming and presentation duties with flexibility will be needed. The person in this role is expected to be on call for transmission issues not resolved during office hours (evenings, weekends, public holidays).
The post holder will be responsible for delivery and management of programming and presentation schedules for Community Channel. The ability to move between programming and presentation duties with flexibility will be needed. The person in this role is expected to be on call for transmission issues not resolved during office hours (evenings, weekends, public holidays).
Key responsibilities:
- Work across channel, digital and marketing teams to agree a manageable, high impact schedule for the television platform and to deliver a forward plan.
- Create monthly programme schedules in conjunction with Channel Editor, delivered to an agreed timescale and format.
- Develop programming blocks, strands and stunts
- Creation of break patterns that maximise commercial minutage and deliver this to external airtime sales house to deadlines.
- Liaise closely with the online team to ensure TV schedule fits online plans and coordinate on-demand scheduling.
- Ensure all compliance and regulatory requirements are met.
- Tracking British Sign Language Broadcasting Trust delivery and review to ensure deadlines are met.
- Running audience reports on occasion using TNS reporting software.
- Manage, train and supervise interns as required.
- Work on presentation duties when required.
- Create and deliver daily presentation schedules; ensuring transmission schedule adheres to all Ofcom regulations, including COSTA rules.
- Oversee and process the delivery of EPG and listings data to all platforms.
- Create weekly make-lists that cover campaigns, trails, on-screen graphics, compliance, trafficking, and edit/break patterns.
- Ensure that all scripts for promos have been written and delivered on time.
- Work with advertising partner to ensure ads are delivered on time.
- Solve transmission problems, making sure that all delivered material are in correct formats/time durations/slots.
- Send daily TX logs and AsRuns; check monthly TNS reports that have been delivered and processed.
- Check and deliver different reports: PRS music reporting, transmission reports for programme suppliers, Ofcom and ATVOD reports.
Person specification
- Experience of scheduling a commercial television channel, including programming and presentation scheduling.
- Ability to use automated scheduling systems, with experience of Zeus scheduling software an advantage.
- Good management skills.
- Commitment to social action, campaigning and community development.
- Hardworking and flexible work ethic
- Confident attitude and proactively uses initiative
- Able to achieve results and focus on deadlines
- Able to develop and maintain quality relationships
- Commitment to equal opportunities and the aims and values of Media Trust
This is a brand new role and key hire for a leading entertainment company based in
In this role you will be charged with pro-actively securing brand relationships in the
You will work closely with my client’s TV, Radio, Distribution, Live Entertainment, Casting, Marketing and Online divisions to source prestige commercial opportunities for clients and to develop key comedy/presenter talent and TV programme brands through licensing, merchandising, sponsorship and other commercial partnerships.
You will pair their programming and talent with some of the best-known consumer brands, engaging with our fans through branded products on multiple platforms. You will be working directly with consumer brands, advertising and marketing agencies and other new partners to realise incremental revenue streams for key properties and talent in two main areas:
1) Brand Development i.e. via licensing, merchandising, endorsements across traditional categories such as apparel, fashion, cosmetics, fitness products, toys, games etc. but also new media, social gaming, mobile etc.
2) Branded Entertainment i.e. finding brand partners and financiers of entertainment product e.g. sponsored Live comedy, advertiser-funded programming (TV and online), product placement, brand integration models etc.
You will have full responsibility for winning business and for building and growing this new branding division into a scalable, profitable and sustainable business by forming deep, innovative and authentic alliances between consumer brands and talent and entertainment properties.
To be considered for this opportunity you should be educated to degree standard, have extensive commercial experience along with a black book of contacts within the sponsorship, planning and buying departments of media agencies and brands direct.
You must be able to demonstrate how you have generated brand related revenue in previous roles e.g. building and heading up the branding division of a similar entertainment company / talent management agency.
Exposure to
Task 5
It's very important to have a showreel as it can show your talents and put them across much better than a simple explanation from you can. Shows prospective employers and university interviewers exactly what you are capable of.