working in telly ...
I promised wannatravel that I'd write a how-I-got-started-in-telly post so if you're interested in that then click
First off, let me warn you that there are going to be differences between a) the method of working and b) the job roles themselves depending on whether you're in the UK or US. Obviously, I've never worked in the US so I don't know how the industry operates over there. And I've only done my kind of work so I'm not 100% up on the other types of roles in production.
Basically, you've got two routes in telly over here and both tend to start at the runner stage. You do your time, you make your contacts, you work your arse off doing long hours for shit money and you pay attention. What you get out of it is a solid understanding of how a production works, who does what, etiquette on set, some lovely people you can harrass for jobs later in life and a sleep disorder. Unfortunately, I skipped this part but we'll look at that a little further down the page.
Once you've been a runner for at least a year, be it in post or production, you're ready to move on. This is generally where the split between the two routes occurs. 1) You can go Junior Researcher - Researcher - Assistant Producer (AP) - Producer/ Director (PD) - Series Producer OR 2) Production Secretary - Production Co-ordinator - Production Manager - Exec Level (I'm a little uncertain of what exactly but that's what I'm told).
Route 1: If you've worked in post chances are you're going to have to run in production before moving up should you decide you hate post production and want to work in production. If you're lucky and know someone who can get you a decent job in production then you might be okay but I have to say, it's quite unlikely that anyone in production will hire an ex-runner from post as a junior researcher because you'll have no experience of a production in any throes let alone mid. It's a frustrating and hideous place at times and experience is invaluable.
Route 2: If you're lucky and a production is calling for it you might get a job as a post production secretary. If you're really, really lucky you might get a job as a production secretary but, again, unlikely without experience of production.
If the job isn't the draw but the cashy money is, then stay in post production. Offline editors make £200 a day, online editors a whopping sum more. Freelance editors make enough to take several months off at a time so if it's money you're after then head into post. Be warned though, running in post houses is far worse than running in production from what I can tell, a couple of places in London make you apply to the head chef for a job as you're just a glorified waiter at first. However, it seems to be an easier entry route into telly than any other.
Yes, but how do we even find out about these jobs, I hear you cry. Lordy, Lordy! The internet of course! I'm sure the States will have a similar set up so there should be at least a couple of industry sites to choose from. Over here we have Production Base which is a membership only site that many companies use to search CVs and post notices of jobs. It costs a fair amount but can be quite useful depending on what type of work you're looking for. Remember, everyone wants to direct which means there's a lot of researchers out there desperate for work and so a lot of competition in the market place. For my kind of work, however, I've never had to apply for a job until I sent my CV to Cardiff (and even that wasn't a proper application!) beceause companies have found my CV on there and contacted me with job offers. There's also mandy.com which I believe covers the entire world and is free but is less likely to be used by the industry over here. However, what it does also list is low or no pay jobs that are good for experience and your CV.
So, how did I get into the industry? Well, I went to college and studied Broadcasting. I failed the course, hated the college, had a great social life, met a lot of life-long friends (not to mention my bloke) and then left the country for two years at the end of my time there. When I got back I decided to give the industry a shot and called my old college to ask if they could sort me out work experience as I didn't feel confident enough to apply for a proper position. They found me something at Tiger Aspect in London for a couple of weeks and within three months of returning to the UK I'd moved to London and started tape logging for this very well known company. One week into my job there they asked how long they could keep me. "Until I get a job," I replied. So they gave me one. I was there a couple of months before getting a job as a Post Production Secretary at another independant. Six months there and I scored the glamourous job of Production Secretary on 30 1 hour programmes about improving your house instead of moving. Joy of joys, but it was a steep learning curve and after doing that I figured I could do anything. Next couple of jobs were just helping out at the same company whilst waiting for my next contract as Production Co-ordinator on a genealogy programme, got a live studio finale under my belt which stood me in good stead for my current job. And after two years there I was upping sticks to Cardiff for this job. My paid work started Jan 2004 and I've moved up incredibly quickly (due more to luck than anything else). Realistically, not being a runner has meant I don't know the etiquette on set (which is terrifying when you're actually on a set!) and am fuzzy on some of the basics in production which don't stop me from doing my job but do make it a little harder.
Each job gives you more and more people to tap for work. Make friends with the receptionist if you're working at a small company, they'll know everything that's going on in the company and will know if more productions are being commissioned. If one of your friends finds you a job make sure you keep an eye out for them when they need a job back. Don't piss off your Production Co-ordinator because they'll be asked to give a reference for you for other jobs you go for ;) Work hard and don't bitch about the hours. Make sure you're in on time and work as long as it takes to get the job done. Preempt what needs to be done and make sure you're always busy. And most importantly of all, keep your sense of humour when everyone else around you is losing theirs. Sermon over ;)
If you just wanna hear about my week then carry on reading! I read the grown-up spin off's first episode yesterday and loved it! Am hoping to go out on location on Tuesday (shame the scene I'm dying to see isn't on set but hey ho!) but not sure I'm going to be allowed as I have so much to do. Series Four kicks off next week as well and I read the script for the Christmas Special yesterday too. Loved that one as well! Sooo exciting!
On the downside, we're in the middle of clearance hell as we try to get all the paperwork done for Series 3. I'm still stuck on Ep 10 (I hate this bloody episode!) and have yet to do 9 more episodes (all three versions) and a few more (I'm not gonna bother adding it all up as I'll only depress myself). However, there's now talk of farming it out to someone else because I don't have the time which has cheered me up somewhat until I get freaked out about someone else doing my paperwork instead of me ... what if they do it wrong?!
But we're having a party in a couple of weeks in London which'll involve another fun bus. And I've thought ahead this time and booked the next day off, heh. I'm actually looking forward to the hang over!
First off, let me warn you that there are going to be differences between a) the method of working and b) the job roles themselves depending on whether you're in the UK or US. Obviously, I've never worked in the US so I don't know how the industry operates over there. And I've only done my kind of work so I'm not 100% up on the other types of roles in production.
Basically, you've got two routes in telly over here and both tend to start at the runner stage. You do your time, you make your contacts, you work your arse off doing long hours for shit money and you pay attention. What you get out of it is a solid understanding of how a production works, who does what, etiquette on set, some lovely people you can harrass for jobs later in life and a sleep disorder. Unfortunately, I skipped this part but we'll look at that a little further down the page.
Once you've been a runner for at least a year, be it in post or production, you're ready to move on. This is generally where the split between the two routes occurs. 1) You can go Junior Researcher - Researcher - Assistant Producer (AP) - Producer/ Director (PD) - Series Producer OR 2) Production Secretary - Production Co-ordinator - Production Manager - Exec Level (I'm a little uncertain of what exactly but that's what I'm told).
Route 1: If you've worked in post chances are you're going to have to run in production before moving up should you decide you hate post production and want to work in production. If you're lucky and know someone who can get you a decent job in production then you might be okay but I have to say, it's quite unlikely that anyone in production will hire an ex-runner from post as a junior researcher because you'll have no experience of a production in any throes let alone mid. It's a frustrating and hideous place at times and experience is invaluable.
Route 2: If you're lucky and a production is calling for it you might get a job as a post production secretary. If you're really, really lucky you might get a job as a production secretary but, again, unlikely without experience of production.
If the job isn't the draw but the cashy money is, then stay in post production. Offline editors make £200 a day, online editors a whopping sum more. Freelance editors make enough to take several months off at a time so if it's money you're after then head into post. Be warned though, running in post houses is far worse than running in production from what I can tell, a couple of places in London make you apply to the head chef for a job as you're just a glorified waiter at first. However, it seems to be an easier entry route into telly than any other.
Yes, but how do we even find out about these jobs, I hear you cry. Lordy, Lordy! The internet of course! I'm sure the States will have a similar set up so there should be at least a couple of industry sites to choose from. Over here we have Production Base which is a membership only site that many companies use to search CVs and post notices of jobs. It costs a fair amount but can be quite useful depending on what type of work you're looking for. Remember, everyone wants to direct which means there's a lot of researchers out there desperate for work and so a lot of competition in the market place. For my kind of work, however, I've never had to apply for a job until I sent my CV to Cardiff (and even that wasn't a proper application!) beceause companies have found my CV on there and contacted me with job offers. There's also mandy.com which I believe covers the entire world and is free but is less likely to be used by the industry over here. However, what it does also list is low or no pay jobs that are good for experience and your CV.
So, how did I get into the industry? Well, I went to college and studied Broadcasting. I failed the course, hated the college, had a great social life, met a lot of life-long friends (not to mention my bloke) and then left the country for two years at the end of my time there. When I got back I decided to give the industry a shot and called my old college to ask if they could sort me out work experience as I didn't feel confident enough to apply for a proper position. They found me something at Tiger Aspect in London for a couple of weeks and within three months of returning to the UK I'd moved to London and started tape logging for this very well known company. One week into my job there they asked how long they could keep me. "Until I get a job," I replied. So they gave me one. I was there a couple of months before getting a job as a Post Production Secretary at another independant. Six months there and I scored the glamourous job of Production Secretary on 30 1 hour programmes about improving your house instead of moving. Joy of joys, but it was a steep learning curve and after doing that I figured I could do anything. Next couple of jobs were just helping out at the same company whilst waiting for my next contract as Production Co-ordinator on a genealogy programme, got a live studio finale under my belt which stood me in good stead for my current job. And after two years there I was upping sticks to Cardiff for this job. My paid work started Jan 2004 and I've moved up incredibly quickly (due more to luck than anything else). Realistically, not being a runner has meant I don't know the etiquette on set (which is terrifying when you're actually on a set!) and am fuzzy on some of the basics in production which don't stop me from doing my job but do make it a little harder.
Each job gives you more and more people to tap for work. Make friends with the receptionist if you're working at a small company, they'll know everything that's going on in the company and will know if more productions are being commissioned. If one of your friends finds you a job make sure you keep an eye out for them when they need a job back. Don't piss off your Production Co-ordinator because they'll be asked to give a reference for you for other jobs you go for ;) Work hard and don't bitch about the hours. Make sure you're in on time and work as long as it takes to get the job done. Preempt what needs to be done and make sure you're always busy. And most importantly of all, keep your sense of humour when everyone else around you is losing theirs. Sermon over ;)
If you just wanna hear about my week then carry on reading! I read the grown-up spin off's first episode yesterday and loved it! Am hoping to go out on location on Tuesday (shame the scene I'm dying to see isn't on set but hey ho!) but not sure I'm going to be allowed as I have so much to do. Series Four kicks off next week as well and I read the script for the Christmas Special yesterday too. Loved that one as well! Sooo exciting!
On the downside, we're in the middle of clearance hell as we try to get all the paperwork done for Series 3. I'm still stuck on Ep 10 (I hate this bloody episode!) and have yet to do 9 more episodes (all three versions) and a few more (I'm not gonna bother adding it all up as I'll only depress myself). However, there's now talk of farming it out to someone else because I don't have the time which has cheered me up somewhat until I get freaked out about someone else doing my paperwork instead of me ... what if they do it wrong?!
But we're having a party in a couple of weeks in London which'll involve another fun bus. And I've thought ahead this time and booked the next day off, heh. I'm actually looking forward to the hang over!