BBC Work Experience - Episode IV - 16th December, 2013

First of all, it feels like I've definitely progressed in terms of practical studio experience!

My three objectives have been:
1) Be in control of/operate a camera during a live broadcast
2) Communicate with the gallery effectively, relaying instructions, etc
3) Be able to fully understand a shot list enough to know what the broadcast/cameras are planning to do beforehand (also so that when changes occur, I know what they'll be and won't be lost)

I feel that all three objectives inform and aid each other. But by this, the fourth day, I was definitely confident in objective 3.When I arrived, my mentor for the day, Roy (with Daryl on hand as well, as he was floor manager for the day), was very helpful and gauged my previous shadowing and experience in the studio. For one thing, he asked me (encouragingly nearly straight away) what I wanted to work towards for the day; of course I referred to my personal objectives.
   After mentioning my objective 1, he basically allowed me on the camera used for a lunch-time headline preview. Straight afterwards, he made sure I knew which shots to set up where which, as a bit of a test. He asked me to set an 'MCU' for instance. Again, it was mentioned how some directors prefer a particular type of angle, or how they may want the backdrop positioned behind the presenters, etc. Roy put it simply by describing what looks 'comfortable', or not, for the framing.
   We went through the shot list together for the half-past broadcast and noted which cameras would be doing what. I believe Roy saw that I understand what would be happening...Along with this, it seems he trusted in my knowledge of previous days, because he then allowed me to operate Camera 2 for the broadcast! Sensibly, it was a camera that required minimal motion and setting during the broadcast, but I was extremely pleased, as you can tell! And during the set-up, he ensured to the gallery/director that I was being looked after. Through the broadcast, Roy was regularly checking and overseeing my progress and ensuring my framing and camera focus, etc. were in check.
   However, it was my 2nd objective that I still felt I needed to achieve; during the majority of the day, I had the headset on to listen to the gallery (as I have been doing for all of the days and as you are to do if your shift is in the studio). Listening the the chatter from the gallery still proved to be a difficult task, as it is either unclear which voice the camera operator is supposed to be listening to, or the voice is then too quiet to hear over other voices. Whilst I was on camera, I regularly had to check with Roy what my instructions were; his repetition of instructions was extremely helpful, of course, but I'm aware that it does hinder his own camera operation. Reassuringly, Roy is extremely and effortlessly capable; overseeing my operation as well as managing his own seemed not to hinder him at all.
   As for my 3rd objective, I would say that I have certainly become more familiar with the shot lists. I did feel like I was able to follow it and recognize what would be needed for the broadcasts. It was also helpful to now recognize which shots are allocated to whichever cameras are listed...by the end of the day, I was even confident enough to take all the freshly printed sheets and designate individual ones to specific cameras (so one sheet indicating shots for Camera 1, for instance).

The final day in the studio is next...

AM

BBC Work Experience - Episode III - 2nd December, 2013

Third week! Still exciting!

For today, I was supervised by one Elaine. I had met her briefly the session before, but today she was my supervisor. Almost straight away she wanted to test my previous knowledge with 'heads', as the 1300 news broadcast was approaching. She asked me how it would be framed and from which camera. I was fairly confident that I gave the correct answers (which I did). And I'm sure that it allowed me to actually be in control of the camera during the 1300 heads!
   It was a positive step forward and I was very pleased that Elaine felt confident enough for me to be at the controls. Although, since it was for the heads, the shot (including set-up) was relatively simple compared with other shots used for the actual half-past broadcasts. (I wasn't sure they'd let me be on camera for them just yet!) But it was a step forward and I'm satisfied that it was a good starting point. Hopefully I can build on this in the future (especialy for my final two days in the studio).
   During this time, I also learned that the equivalent headline previews at quarter-past were known as 'proms'. As it's the term, I'm actually surprised that I only just learned it then. If it was been said in the past then for some reason I unintentionally missed it. (Ah well, at least I know now!) Anyway, as last time, I observed the the lunchtime programme. I was following the director sheet as the news items progressed and I was able to understand what was happening (and what would be happening) more than I was previously.

After lunch was the production meeting; I'm fairly used to how the meeting goes down now, but now I felt like I could keep up (to a degree) with the information on the shot list. Not only did I feel like I had progressed in my work experience, but it felt as if I had become a part of the team, somewhat...A great feeling!
   Straight after the meeting, Elaine and I returned to the studio. Using the sheet for the evening news, she tested my knowledge on all the shot types that the broadcast would be featuring. i.e. which news items would require a particular framing and on which camera. Overall I believe that I got the basic shots correct, but as for more complex manoeuvres (changing the camera from one frame set-up to another within a small amount of time, movements that require more than one motion, etc.), they were saved for such a time when I gain more experience with 'driving' the camera(s).
   This was directly followed by the recording of an interview in the studio. It was an interview using a live feed in London (presumably the BBC down there) with John Sergeant (after last week with Jasper Carrott, my star-struck status was less-so! Hehe). Mr. Sergeant was discussing with us a restored building in the Yorkshire area...It was fascinating to watch this interview, because even though it was recorded for a later broadcast, it was still conducted (as much as possible) as if it was live. And though the initial interview went well, they decided to do two recordings to make sure they have enough material and to see if they could narrow the interview down into an allocated time-frame.

As we were getting up to the 1830 broadcast, I toyed more with setting up shots. It still felt like I was only standing in the shadows and observing, despite Elaine letting me try a rehearsal...Which I became confused with knowing what to listen to, whether it was from the gallery or the people with me in the studio...I remember being told early on in the process that knowing what to listen to or listen out for was a definite skill to accomplish! The confusion was only amplified by my framing...It seemed that I was told to set a particular shot when I had already done it. Of course I was reminded that different directors may prefer different ways of framing.

Apparently there was a worksheet to follow with objectives to complete, but I never got given one...I can only imagine that they felt it was more important to learn from tasks that need doing for the day and broadcast. Personally there are three objectives that I want to complete whilst I'm in the studio:
- I want to be able to control a camera during a live broadcast (as for complex motion such as pulling back and up, I'm not confident that I'll be able to perform, or be trusted with, those types of motion in the time given...However, I do at least wish to be behind a camera for still shots, etc.)
- Communicate with the gallery effectively, relaying instructions, etc. (As stated earlier, communication became quickly confusing...But with more time I'll be confident enough to know what to listen out for.)
- Be able to fully understand a shot sheet enough to know what the broadcast/cameras are planning to do beforehand...Also so that when changes occur, I know what they'll be and won't be lost. (This is purely so that I'm able to follow what's happening. But of course with more experience on camera, I'll be able to know what changes will be approaching so that we'll all be prepared for them.)

AM

BBC Work Experience - Episode II - 18th November, 2013

Second week!

I was given a quick test in the studio by Kevin to see how much I could remember from the previous session (also to see if I'd been paying attention). He quickly handed me over to the fellow who would be overseeing me for the day; Brian.
   As I soon discovered, Brian doesn't work in the studio as much as other members of staff. In fact he stated that he's in only in once every six weeks...The majority of his work is done outside of the building. Brian didn't communicate as much as Kevin; I believe his lack of studio work is reflected in that, though he did make sure I knew the basics with the cameras. And he ensured I was listening into the headsets. I did expect to build and expand upon my pre-existing experience, but instead it did feel that I wasn't learning as much as the first week. It even seemed that he was aware that he wasn't the best person for minding someone who is doing work experience for multiple (and consecutive) sessions in the studio.
   Despite this, I informed him of the Friday before, when BBC Leeds did a live broadcast for Children in Need outside the National Media Museum. I went to along to see how different the camera direction and operations were. One fellow was using a steadi-cam, with a full-body harness; at one point he dropped something that fell apart on the ground...Plenty of people were around to help him pick the things up (he was clearly struggling), yet nobody did. I was nearby, so I came to his aid. When I told Kevin about this, he did seem pleased.

Soon after lunch, it was time for the production meeting. Aside from content, it was very much a similar experience to last week. The fun was, again, trying to keep up with the director sheet...! That's definitely one area I want to improve and get used to (after all, it informs a camera operator what to do and when)! Directly afterwards, I had an inquiry; the Media Museum was to open the Doctor Who exhibition at the end of the week, so I asked if they'd be reporting on it. I was directed to the person who said they'd be there, and of course I saw more experience opportunity and made sure I pointed out that I'd be there too (unfortunately on the day, I don't think any of the crew recognized me...But it was fun to witness a live 'out-of-studio' broadcast on that Friday).

Back to *this* day and I went back to the studio with Brian...Jake popped in, so that he would be shown things for future reference, whilst no standing idly by on the sound desk. Alongside practising camera manouvres with him, he asked plenty of questions about the camera operations that I learned about in the first session. This also had a beneficiary advantage for me as I listened to the 'question and answer session' with Jake and Brian; not only was it a helpful recapping of information I may have forgotten, but it was also interesting to get a camera/studio breakdown from a different perspective (i.e. one not commonly based in the studio).

As 1800 drew near, we were preparing everything and there was a buzz, not just in the studio, but the entire building. I was especially excited, too! A special guest had arrived for a chat on the 1835 broadcast; Jasper Carrott! Of course the crew organised themselves so that the persons who wanted to meet him the most worked in the studio and the others (including m'self) were our best behaviour! Funnily enough, Jasper himself may have accidentally uttered a word he shouldn't have...So 'best behaviour' indeed!
   As we were setting up to go live, the crew started to get worried that there was nobody to operate Camera 3...I mentioned to Brian that 'they wouldn't let me on C3, would they' and he confirmed it, but then he realised what that was showing and then pointed out that it was great that I was showing the enthusiasm!'

Overall it felt like this day was less of a learning curve than the first time,  but it was still exciting to be around the studio and the staff. On future days, I hope to be able to get on camera more (and practice for rehearsals) and maybe even control during a headline. Even if it's a case of just setting up shots and helping out with the studio set up, I'd be happy to assist with a lot a this point!


AM

Unit 80: Work Experience Research (Part One)

BBC

BBC Work Experience (Link)
This is the general work experience page for the BBC. From here multiple types of experience positions can be applied for. They are organised into different divisions of the organisation (Content Making, Journalism, New Media & Technology, Business & Support and Commercial Ventures), catering to a variety of interests.

The BBC also offer a variety of Trainee Schemes, some examples of which are as follows:


The Production Trainee Scheme (Link)
The Production Trainee Scheme runs from September, offering a 12-month (paid) contract for applicants. Successful candidates will be required to work throughout the UK, based at various BBC buildings (one is definitely London). The scheme allows the trainee the opportunity to work on a television production with 'intensive training' in the skills needed to become a content developer in the future, mentored by a senior member of production staff. And, depending on what the content is (documentary, fiction, etc), the hours will always vary.
   Provided the trainee performs well and responds to feedback, at the end of the scheme, the opportunity will arise for the trainee to compete for either a 3-month, 6-month or 12-month contract (at either research or assistant level).
   Personally, I could see this placement benefitting me a great deal through building skills in content development (something I do to a degree with my amateur writing) and gaining professional skills through discipline. However, at the present, I would not feel very confident in applying for such a scheme. In the future, when I have had more experience in the work-place (working more in film and TV studios and sets), the position (should the placements still occur) may be more suitable for me.

The Journalism Trainee Scheme (Link)
The Journalism Trainee Scheme is of a similar vain to the Production Trainee Scheme in that it offers a 12-month (paid) contract with relative training and mentoring by a senior member of staff. However, the page is more specific about the requirements for the applicant, stating that they must follow news avidly across multiple platforms/formats (TV, radio, newspaper, etc.) and that they must have 'an excellent grasp' of social media. This does make sense as people who are possionate about journalism will be entering into a placement that they will most likely benefit the most from. Another difference from the Production scheme is that the Journalism scheme allows you the chance to work a three-week placement of your choice.
   I cannot see this scheme benefitting me as greatly as other schemes that the BBC offer. (My skills and interests are geared towards creative content and content production.) However, as I do have an interest in current affairs (especially getting to the bottom of events), I would have an interest in how the production of journalism operates and how the news is constructed and presented.

The BBC Writers Room (Link)
The BBC Writers Room is a virtual environment for scriptwriters. The area is set up for writers of any experience to network and share contacts, resources, etc. so that talent can be developed and nurtured. The aim for the BBC was to discover and develop new talent, not just for themselves, but for the creative industries as a whole (as indicated by the extensive list of partnerships the BBC have with groups and organisations nationwide who support writers). The BBC recognised that writers make a tough making and would benefit from a hub where they can discuss and share with other writers.
   Services that the Writers Room supply themselves include opportunities for writers to submit work for upcoming festivals and other related events (360-degree Script Writing Festival which offers workshops and in-person networking, HighTide/Royal & Derngate Award which offers the opportunity for a script to be made into a play & Big Picture - Writer which offers a winning applicant to write for a professionally-produced short film, to name a few).
   The Writers Room also provides writers with a service known as the Script Room. Up until recenetly, this scheme for the BBC used to be a continuous submission service (anyone could submit scripts at anytime). However, they reorganised the submission service for windows of opportunity to submit scripts throughout the year. Each window is for a different format and genre (the Blog contains the current schedule for 2014, as of 22nd January).
   I would find the majority of the services provided by the Writers Room extremely useful and beneficial. I have been script-writing on an amateur level for a decade and I've only relatively recently started planning my own original projects. For the last submission opportunity, I actually submitted my first feature-length original script. Opportunities such as these are greatly catered for individuals with an interest in creative content/fiction production.

CHANNEL 4

4talent - Work Experience (Link)

Channel 4 offers a work experience scheme and applications open up three times a year (February, May and August). Applicants must be above 16 and they must have attended a Channel 4 event (including what are known as '4Talent Days' and '4Talent Talks') within two years of applying. The latter requirements initially appear very specific, but it can make sense; if potential applicants is interested in working for the organisation, then attending such events may enlighten them. They may decide that the company is a suitable working environment for their career aspirations, or maybe that the paticular company is not for them. After that, for anybody who does apply for work experience (assuming they pass all criteria), Channel 4 will know that they are receiving applicantions based on genuine interest.
   The work experience is split into several departments available for application including; human resources, marketing, Press and Publicity, Facilities Management, Corporate Relations, etc. There seems to be three most relevant departments to my career interests. The '4Creative' section offers opportunites across the board of media production for programmes, adverts and trails across all of the Channel 4 stations, with succesful applicants starting as runners and then working their way through to production assistants and finally producers themselves. '4Talent' is another section that supplies opportunities for content production. But the team behind '4Talent' are there to support young people with (next to) no experience to get their feet in the proverbial doors. The career path runs from assistant (administrative support) to coordinator (organising projects, events, schemes, etc.) to head of learning (responsibile for '4Talent' as a whole, promoting the department, approving content, delivering to C4 standards). 'Box Television - Production' is the third option I'd be interested in; it is similar to the '4Creative' department (with similar career development), but the opportunity is to work with 'Box TV' production, who provide content for Channel 4.
   I believe that the '4Creative' and 'Box TV' options will be suitable for me, as their opportunities would build on the experience I already have (BYFA, for instance) as they offer in-studio experience. They would also offer me the chance to develop my passion for writing with their creative content development. Hoewever, the only major drawback for all three options is that, like all the other options, they are based in London. With the city so far away and accomodation and living costs most likely expensive, I'd be very unconfident in staying there for a lengthy period.

ITV

ITV Insight Programme (Link)

Amongst ITV's apprenticeships and placement schemes is an initiative known as the 'ITV Insight Programme'. The placement is a volunteering scheme and as such it is unpaid. It's open to EEA residents at age 18 and above, but appears ideal for anybody looking to gain work experience and insight into the industry. Successful applicants will be given membership to what's known as the 'Insight Pool', which allows access to placements within the company that become available. A placement offers the chance to 'experience the inner workings' of ITV and network with (and learn from) profesionals and gain contacts. The aim is to give the applicant informed career decisions.
   Unlike the BBC and Channel 4, ITV's readily accessible information is more vague in detail. Information on the experience an applicant would get is described with overarching terminology...It does not specify which departments are available for placements either. Only the fifth paragraph on the page refers to different departments as it informs of basic reasons why some placements may not be available. Only through the 'apply now' links do we have some more data, even if it only states that the Insight Programme is based in London and that placements/opportunities can be in various places in the UK. Also, unlike the BBC and Channel 4, ITV's scheme is open all year round, rather than at particular windows in the year. This means that whenever opportunities arise, people will be able to apply for them relatively quickly...A benefit to the organisation as the positions have more chance of being filled as soon as possible, although perhaps not as ideal for the applicants as they may not know when the next job will arise.
   Assuming the experience will cover similar departments to the BBC and Channel 4 such as television/content production (as I said before, specifics are not defined...One can only explore as far as the 'apply now' link. Beyond that, accounts would have to be set up with ITV in order to progress. In retrospect, maybe it would be suitable to e-mail them for more information), I would be very interested in applying, especially for the prospect of placements emerging all year round. However, details of the locations aren't readily avaiable. It would seem that it's either information acquired through full aplication, or enquiring via e-mail.

 SCREEN YORKSHIRE

Screen Yorkshire - Creative Talent (Link)

Screen Yorkshire, a production organisation supporting creative and media sectors in the north of England, provides a couple of large-scale talent development schemes. Where one is direct work placement, the other is an experience-based collaborative scheme:


Screen Yorkshire - Creative Talent - Triangle (Link)
The basis for this scheme is to bring together the triad of directors, producers and writers; arguably three of the most important roles in making a film. It consists of a professionally-mentored workshops and networking events over a ten-month period.
   The scheme involves creating collaborations and is aimed not just at fresh talent, but exprienced individuals as well. This can be beneficial for the different levels of experience; the experienced will have opportunities to work with different people and the less-experienced will be able to learn from them. In order to build filmmaking teams, the scheme organises five networking-workshopping days, each spread across the North of England (two of which are compulsory in Leeds and Sheffield). The applicants need to be UK-based, 18 and above and not in full-time education. It states that financial support is available for travel and accomadation, but it will be limited. This appears to suggest that the travel and bases in multiple locations will be easier for applicants living in the North (especially Yorkshire). It seems that this would be beneficial for Screen Yorkshire's aim as a whole; to encourage Northern-Yorkshire film production (with Northern talent).
   In fairness, I would find this scheme very suitable for my career aspirations; it would allow further exploration with my writing (especially collaboration with others) and I would have further experience of working with directors and producers with differing levels of experience. The biggest attraction is the learning-through-experience value of creating a film from scratch with others. However I would need to further enquire as to how much an applicant would be able to do (that is to say, if you are a writer, will you be able to perform director or producer roles, etc.) or if the application means you can only apply as one of the three roles. Again, with more experience in studio-set work, I would be very eager to apply for this scheme. The only real drawback is that, at the moment I am still a full-time student. However for future reference, this may be very useful.

BBC Work Experience - Episode I - 4th November, 2013

First day/week/fortnight-day at the BBC! Very exciting.

After initially worrying that I may have arrived later that I should have, it turns out that I arrived just in time. From the start I was assured that there was no problem, which in turn reassured me that the staff (and my supervisors) would be most welcoming.

I met Mike Buttery, a colleague of Daryl Wintle (Ops Organiser), and he took me on a quick tour of the building, just for basic health and safety (entrances and fire exits, etc). Straight afterwards I met Kevin, who was to supervise my time in the studio. He expanded on the building tour by showing me the facilities of the production areas (studio, gallery, hub, secondary gallery, etc), and it was at the editing area I met Faith; I was keen ask about editing suites and how the programme contents are organised (and of course, how the colour-coded keyboards work!) After a brief overview, I believe Faith recognised my interest in the editing area; she told me that it's definitely worth letting Kevin know and perhaps I could look into it and spend some practical time in the area to learn more. Unfortunately, as of this posting, I have not yet found a good opportunity to talk to him more about it (he has been either busy with other people or busy with other work, etc). Through touring the facilities, I did feel that I had learned a good deal about the general logistics of how the different areas work and work together.

In the look North Studio (which is surprisingly smaller than it seems on the TV), where the bulk of my day took place, Kevin showed me, and talked me through, the shot list for the 1235 broadcast. The sheet was split into several columns and rows, filled with abbreviations and technical jargon as a very snappy short-hand. Of course it had to be explained which ones were which and what they all mean...! However I was familiar with some of the shot/framing terminology (MCU, CU, etc). Interestingly enough, Kevin also pointed out that in other places, some of the jargon will differ slightly from place to place. It seemed that he was confident that once you've got the basics, it should be straight-forward.
   I also got to have a detailed talk through the cameras and how they operate. With clips and weights and bundles of wires and cables sticking out of nearly every socket, the cameras in the studio look incredibly complex (especially if you're not familiar with cameras). But it turns out that they just look more busy than they should be. According to Kevin, they used to have dedicated camera operators/maintenance jobs, but due to cutbacks, many staff-members perform a variety of roles throughout the building. This means that virtually any of them can be called upon to grab a camera if they're not too busy.

By the time it was approaching 1300, the studio was preparing for lunchtime broadcast. This was my first experience of being within a studio of a live news broadcast. The presenter is brought in to run through headlines and for sound checks. I listened in on the chatter during then and then throughout the broadcast. I found it fascinating following the result as regular viewers would see whilst listening to the instructions directing all the different graphics and images and video clips as well. All the time it felt like I was really being trained for work as Kevin would frequently explain things that I wouldn't have been familiar with. He'd also occasionally give me advice on exceeding in this type of work environment.

After lunch (in which I 'compared notes' with Carly and Jake), there was a production meeting at 1530 that I was allowed to sit in during. The meeting is to go through what the plan will be for the 1835 broadcast, arguably the busiest and most important part of the schedule. Of course a lot of the data and jargon were lost on me (I only really followed the actual stories which were to be reported), but hopefully I'll be able to follow it with more understanding in the future.

Next, we went back to the studio where I was shown more of the camera mechanics as we 'took them for a spin'. Encouragingly, Kevin gave me shot exercises to do, reflecting how certain shots are performed for particular elements of a report (stating what shots go best with what news item, etc). This was one of my most favourite parts of the day as I got to physically be in control of the camera for hands-on learning. As we went through the different movements (crab, pan, ped up/down, etc), it felt as though I was really getting into the mechanics of how the camera stand/base operated as well...Certainly learned a lot at this time!
   After a good session, I felt that it was important to get to grips with the shot list(s), so I took time to go through the shot sheets to (try to) familiarise myself more with the directions. Helpfully, when it was time for the 1835 programme, all I did was observe; not only did I get a sense of how a fully-functioning news studio works, but following the shot list was easier as it happened in front of you!

On reflection, my first day at the BBC was a most enjoyable experience. I felt as though I learned a lot about TV production, even though information came so fast that I missed some of it...! Oh well, at least next time I'll be able to expand on what I learned by learning what I missed!
   As for long-term goals (whilst in the studio), I have a few; I want to be able to follow a shot list clearly, I want to be able to be in control of a camera during a broadcast and if then, be able to follow instructions in the studio from the gallery (I've been told that it's a challenge as the director, who you need to hear, is quieter than the producer).
   As we finished our first day, it felt like we had been received positively; many of whom we met were asking when we'd be back...I only wished I could tell them it was the following day.

AM