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Production trainee Tulasi Das on her trip to Ethiopia with the Natural History Unit

2017-08-16T14:15:00+00:00

It all started when the production trainee scheme shipped me off to the Natural History Unit in Bristol. I was joining a series called Tribes, Predators and Me. The production office was wonderfully welcoming. They gave me the tools to do the work and guided me throughout the process. After a month I was writing a script for one of the episodes! Sure, it went through a dozen more changes after that, but fact of the matter is that I jumped that initial hurdle.

Soon I was researching an episode about hyenas. The PD (producer-director) asked me to research the Omo valley in Ethiopia, one of the most culturally diverse places on earth. Hyenas are a frequent problem for the many people living there as they steal the cattle the locals depend on.

I found a number of ethnic groups that might work for the film, including one so unknown that only three anthropologists seem to have ever studied them. Their selling point? Every June the bachelors have a fattest man contest whereupon the fattest becomes the most eligible of all.

The question of whether or not I would go on the shoot itself continued to loom but it was so much fun helping the producers put together the story that I tried to content myself with that. I think we all know I failed quite spectacularly at that - but in the end I think my obvious desperation was a selling point: three weeks before departure I heard was going on the shoot.

Those weeks were a blur of rabies shots, research and a leaden dread upon my realising that the researcher wouldn’t be coming with us. Her absence meant that much more of the shoot was resting on my shoulders.

One of the researcher’s most important tasks on location is offloading the rushes - to make sure that everybody’s hard work doesn’t disappear. The filming trip would be my first time doing it outside of training. The edit assistant was my salvation as he showed me how to do it and ensured I could settle in without freaking out. Without him I’m sure I would’ve given up on TV and joined the locals.

Ethiopia was incredible. Who would have thought that I could go from living with my mum in Holland to filming a Bodi woman undergo scarification in two years? I’m sorry, but that is just absurd.

It wasn’t all sunshine, in reality or metaphorically. There were torrential storms and the heat hit 49 degrees at one point. Most days were spent conducting translations: the translator would tell me what someone said and I would note it down in the software along with the correct time codes. It was hot and dusty and we had one toilet that steadily accumulated everyone’s waste. But mostly it was spectacular.

Brushing teeth with the locals!

I got to talk to the locals and figure out what they knew about hyenas; watch the rest of the crew shoot a scene; watch that footage in the rushes and think about what else we needed for the film. I soaked up every bit of information I could. There are a lot of quirks and nuances you notice on the ground that don’t show up in research, however thorough.

For instance, Bodi women are free to sleep with many boyfriends before marriage without any stigma attached - which I took as a strong feminist policy. Was this the feminist utopia I had been searching for? Not quite: further investigation revealed there is still a lot of inequality in different forms.

Quite possibly my favourite part of the trip was when I shot a film about Bodi fashion for the programme website. A local woman whom I’d befriended, Thorok T’onui, put on local make-up and scarified herself while my camera whirred.

Ethiopia was fantastic as a country and as a shoot. Being around seasoned professionals and just getting on and doing the work made me a much better researcher. It was an experience of a lifetime and I learned a lot - chief among them a lot of words with no practical application in the rest of my life.

Tumo ke tonomi! (Thank you.)

Digital journalism apprentice Atif Rashid's 2017 General Election experience

2017-08-09T09:00:00+00:00

We were sitting in the BBC Academy learning about broadcast regulation when Theresa May made her surprise announcement and called a snap election. I'd had the opportunity to help cover the US elections in November, but I never thought I’d be covering another one so soon. Two months later I was heading for the BBC’s Elstree Centre where the main election night studios were based.

The studio was stunning with a massive screen at the front, green screen at the side and work desks on a mezzanine floor.

I was given a tour and met the psephology team who deal with the science behind the elections and results.

I was used as a fake guest for rehearsal and found myself sitting next to none other than David Dimbleby who told me he still gets nervous and that the best tip for presenting is to pretend you’re speaking to one person, like your mother.

I also had to pretend to be a UKIP leader and was fake interviewed by Radio 4’s Mishal Hussain. Suffice to say, I’d not want to be on the end of that interview for real: she is a seasoned interviewer and asked tough questions.

I left the studios having not only gained experience for myself but also feeling that I actually assisted in the rehearsal process.

Two nights later, I was at the Reading count from 10 o'clock for the digital team. I had no idea what happened at a count or whether anything I produced would be used.

I wanted to make a video explaining how the count works but the press officer said I should have told them earlier. Like any true journalist, I wasn’t going to be deterred. I took shots of the ballot boxes, the counters going through the ballot papers and managed to get a quick interview with one of the counters.

I went to the canteen and started editing the piece on my laptop. A green tea and two energy bars later I had a one minute ‘behind the scenes’ video which I sent off.

Behind the scenes at a ballot count - BBC News

Although I work for BBC Berkshire, to my pleasant surprise, at 3.37am, I saw it posted on the main BBC election live page.

I had also found an interesting character who described the whole process as ‘primitive’ and ‘ancient’. Needless to say, I swiftly took an interview. After one or two minor corrections, that too was published.

All in all, I learnt that you should be prepared with ideas but you never know what’ll happen when you get there.

I found the BBC will do everything to try and get something published. Even though my second video needed minor corrections and was sent a little late, the editor still found a way to get it through.

As an apprentice, I wasn’t sure any of my work would get published. But having had some amazing and thorough training, I’ve found there’s always scope to get your work out there.

Am I looking forward to another election? After this, why not?

Production Apprentice: Robert Taylor's adventures and experiences working with BBC News

2017-08-03T13:33:13+00:00

Thrilling. One word to describe the whirlwind that has been my first two months into placement on my production apprenticeship as a cameraman (or as it’s more officially titled, a broadcast camera journalist) in BBC News.

I’ve been up and down the country with my mentor covering a whole plethora of stories, whether it be doing lives onto the One O’Clock News amid the 100mph wrath of Storm Angus on Brighton Beach, filming GVs (general views) at a restaurant in Soho due to its norovirus outbreak or Prince Philip and Prince Harry opening the Field of Remembrance, it’s been a fantastic start to my placement.

Way back when - or so it seems - in October, we had a whole variety of training at BBC Park Western to get us ready to hit the ground running on our first day in the job, this ranging from news camera training and specialist iPhone training, to a News Assignment Location Safety course, amongst others.

Following that informative and useful week, I was thrown right into the deep end going on deployment for a week to cover our Southampton network bureau with a News cameraman, covering stories such as the opening of The Etches Collection in Kimmeridge. For the remaining weeks of the month, I worked with a UK specialist cameraman and correspondent on a special piece titled How Babies Brains Work. I was given the chance to shoot some GVs on location at a nursery in North London, some of which were actually in the final edit and aired on the 6 O’Clock News the following month! My final job was assisting a cameraman in filming the Opening of the Field of Remembrance at Westminster Abbey.

In November, I worked with a camerawoman and correspondent on the Wahaca norovirus outbreak, where GVs I shot were used network wide for the whole day during the headlines and the actual package (my debut as it were). Shortly after I finally had the chance to meet my mentor Tony, and from then on our schedules were married up in order for me to make the most of his knowledge and 33 years of experience as a BBC cameraman; switching from the typical office hours of a Monday-Friday to a varying 4 on/2 off shift a week.

Straight off the bat, he gave me an in-depth 2-hour three point lighting course, where I learnt the fundamentals of lighting for a sit down interview and the usefulness of a key light, back light and fill light - which have been incredibly useful for me on daily basis when assisting setting up lighting scenes on shoots.

Fast forward to December, I was back on deployment in Southampton, with Tony this time and for two weeks, covering stories such as the conversion of a double-decker bus into a homeless shelter on the Isle of Wight and doing production lives from Horsham amidst the Southern Rail Strike.

The highlight of this trip was filming F1 star Mark Webber at Silverstone Race Track. With Tony at the helm of his crew car, we shot a piece to camera and some GVs alongside Mark's Porsche 911 Turbo S on the full 3 miles of the Silverstone race circuit with correspondent Duncan Kennedy in the passenger seat interviewing as they went!

Using no less than 3 GoPros, a PMW-500, a JVC camera and my iPhone for behind the scenes, plus a DJI Osmo for those Top Gear-style, super stabilised angles of the sports car. While it was all hands on deck for the rest of the team, being relegated to the back seat of Tony’s car didn’t faze me, as it gave me the chance to produce a Behind the Scenes film of the day, which was featured in the departmental newsletter and received rave reviews from management and my colleagues in the department, to my amazement.

The rest of the time mainly consisted of edit days, where I came handy to Tony and the Southampton network team with my tracking/blobbing skills in blurring sensitive data using BBC News’ edit software. I was also able to see how packages were put together and then spent the last two days of deployment learning sequence shooting, which involved a LOT of trial and error and patience, however with Tony’s invaluable guidance I managed to crack it after those two days. I’ll be putting that all into practice when I come back onto placement in January.

And that has not been all... In order to keep making contacts and to fulfil my aim to keep furthering my experience, I’ve been dipping my toe in other genres across the business; over the past two months I’ve been a shadowing camera assistant on Later... with Jools Holland, a production runner on Gospel Christmas and a camera assistant on an arts shoot for The One Show (with the Canon C300 I was using pictured).

I hope to continue this where work schedules allow in order to expand my credits further, such that I can have the best chance possible when competing for jobs come September next year.

Work Experience: Avez Ahmed on working with the BBC Academy, and how it helped to shape his future aspirations

2017-07-26T13:24:13+00:00

Before getting work experience at the BBC Academy I was looking for full-time work. Due to my lack of experience, I was being turned down fairly often and thought that if I got some work experience at different organisations I might become more employable.

Despite having a passion for media, having written scripts, articles and even made a few short videos, I never thought in my wildest dreams that I would get work experience at the BBC. But I was recommended via by my local Job Centre, applied online and here I am!

In the application I wrote as honestly as I could about my passion for media and was offered place with the BBC Academy in Birmingham. The New Talent Team recruit entry level employees and despite having only ten days of work experience, those ten days were memorable and I did a lot, much more than your average work experience placement. I learned that you’ve got to have a lot enthusiasm, flexibility and determination with a good work ethic. I was surprised to see that at the BBC new ideas are constantly being considered, thrown out and revised.

At a MediaCityUK #bbcgetin event

I had the pleasure of taking part in Get In events; these events catered mainly for school leavers and university graduates with the aim of interesting them in the BBC trainee schemes and apprenticeships. I participated in three of these, and one took me to Media City UK in Salford. This was the first time I had ever been out of Birmingham, and so it was a memorable day for me! I spent some time with one of the Academy’s online digital content producers and even had the opportunity to write three articles which were given constructive criticism as to how I could improve my writing.

I also learned how to transfer videos internally across the BBC. There is definitely a strong hands-on approach when working at the BBC Academy - you don’t just make the tea. I also worked on a database using MS Excel and was taught how subtitle videos.

With all this experience under my belt and with a much better understanding as to how the BBC Academy works, I will be more the than likely applying for the Production Apprentice Scheme. Thank you very much for the opportunity BBC Academy!

Digital Journalist Apprentice: Georgia Coan - A digital journalism apprenticeship ‘can change your life’

2017-07-19T13:13:33+00:00

It may sound like a cliché, but every day I pinch myself when I realise I’m part of this industry.

I’ve wanted to work in journalism since I was studying for my GCSEs almost eight years ago. But my love of media started when I was six years old, recording my own radio shows on a cassette player. My guinea pig wasn’t the most engaging contributor, but we all have to start somewhere.

The last eight months have flown by. I’ve had some amazing experiences - from interviewing Irish singer Gavin James to meeting BBC director general Tony Hall. I was also part of the digital team who documented the Children in Need canoe challenge for social media.

I’m given the opportunity to come up with ideas and create content for the BBC Three Counties social media pages, which is one of many buzzes I get from this job.

Seeing videos I’ve created on a BBC forum, telling people’s stories in a way that’s sharable and reaches so many people, gives me a sense of pride I can’t describe in words. And my confidence in myself and my ability grows when I receive positive feedback for my work.

A few years ago my confidence had taken a dent. I had to leave my journalism course at a local university for personal reasons and had given up hope of working in the industry.

What I hadn’t realised is that there are always other paths to take.

This apprenticeship has allowed me to train with professionals from across the BBC. I’m also studying for an NCTJ (National Council for the Training of Journalists) qualification, giving me the theoretical knowledge I need (basically how not to get sued!) alongside the practical skills I’m learning.

Every day is different. Whether I’m filming a video for Facebook or supporting a live broadcast, l experience something new - which is unlike any job I’ve had in the past.

My colleagues and the people at BBC Academy will continue to help make me into the best journalist I can be. They inspire me every day.

This is one of the best experiences I have ever had. I’d recommend it to anyone who wants to be in the media industry.

Production Apprentice: David Winfield on his developing confidence, communication skills, and cold fingers.

2017-05-12T10:09:38+00:00

I can’t write a blog. No seriously I can’t. I’m standing on the South Bank, it’s 16 February, I’m freezing my socks off… and I’m on the set of Red Nose Day Actually. So dear reader, I will try to relay insight into this exciting experience but my fingers are cold, and- ACTION!

Production Slate - Red Nose Day Actually

OK so I’m not actually on set right at this minute, but I was - and I feel I should take the time out to give you a real, honest, overall picture into what being a BBC apprentice really means - ironic, seeing as I work in radio.

I want to talk about people and opportunities. You can’t possibly get more than you do inside the BBC. It’s not that I’ve been handed everybody on a plate, I’ve had to go out and find producers, script editors, researchers etc. But being a BBC apprentice has given me such a confidence boost that I’ll quite happily introduce myself to people, or speak up in a production meeting.

For the first time, I’ve had the confidence in myself to submit a script to BBC Writers Room. Yes I had confidence before (my friends and family would probably say that’s an understatement) but now I have the confidence to approach those big BBC people that you’ve heard of before but never dreamed of having coffee with!

Recently, I met with a story producer from a long-running BBC series to discuss working in a story department; in particular script editing and story-lining - something I’m really interested in.

Now in all honesty, this guy is a hundred miles away from radio drama and I came across him on Twitter. So I did a bit of Googling and found he’d worked as a junior storyliner, storyliner, story editor, script editor and so on, basically all the jobs in a CDS (Continuing Drama Series) story department. Tip: if you're going to meet anyone, Google them first. Find out what they’ve worked on and in what capacity, because honestly you can get so much out of the meeting if you really want to know about a particular role.

So, I emailed this guy and he agreed to meet with me. It was one of the best conversations of my career so far; he wasn’t just telling me everything I wanted to know, but he was telling me everything he knew that could help me in my career, however big or small. One of my favourite things about this industry is the camaraderie between people: how they want to help you and give you advice. You have to show you’re willing to take the initiative and, if people see that, they’ll do everything they can to help you succeed.

That’s what I’ll take most out of this year, the BBC has prepared me to work in the industry and work with the people. Yes my average day consists of script reading, researching, casting - all those really fun and exciting things. But you’ve got to do more, talk to people outside what you’re currently doing.

I know long-term I want to work in both television and audio drama in some kind of writer or script editor role. I can only do that if I continue what I’m doing now, meeting new people and networking! If people see your passion, your commitment and your resilience they’ll want to work with you just as much as you want to work with them, they’ll want to help you succeed so the amazing programming making that we have now will continue long into the future.

You’re the future of the BBC, of the industry, and everyone wants it to be amazing.

You will make it amazing.

Life as a BBC Sports Reporter

2017-05-04T10:17:04+00:00

The BBC Kick Off Trainee Sports Reporter scheme is a five week work placement across BBC Radio and online Sport teams in the UK, Northern Ireland and the Channel Islands.

The scheme is open to sport-minded people over the age of 18. No previous media experience is necessary to be successful on this scheme. We look for people’s passion for sport and for telling great sport stories in their local area.

Watching reporters develop with the scheme each year is extremely rewarding. Some reporters come in with little-to-no knowledge of professional radio production or reporting and leave us work-ready, with increased confidence in reporting and many secure work in the industry.

From my observation, the transition is down to them taking the opportunity to develop their skills and story ideas with the scheme management, mentors and trainers. They leave nothing to chance.

Don’t just take my word for it – here are two ex-BBC Kick Off Reporters Mary Kate Monaghan and Jamie Gambrell, who share their own experience of being on the scheme.

Mary Kate Monaghan, ex-BBC Kick Off Reporter, BBC Radio Cumbria

"My experience with the BBC during the Kick-Off trainee scheme was fantastic and highly rewarding.

Following on from my interests in both journalism and sport, the scheme provided the perfect balance between both areas by combining the two, while also allowing the unique opportunity to have my work broadcast on BBC Radio.

Similarly, the practical nature of the scheme is fantastic, as it allows independence to form our own projects and ideas, while providing essential support and guidance to ensure the high quality of the radio packages we produced.

This links to the training provided by the scheme, which was highly rewarding as it included key tips and skills necessary for working within media, providing a fantastic platform to develop from to prepare for a career in journalism. Likewise, the scheme is not limited to one type of sport, and allows a variety of new experiences and abilities to try out different kinds of sport coverage, from radio commentaries on football matches to having the chance to interview inspiring local athletes.

Following my time with BBC Radio Cumbria, I have been able to transfer the vital skills learnt by setting up and hosting my own weekly radio show at university. Similarly, I have been able to stay in contact with the radio station and continue to receive opportunities to continue working with them.

I would highly recommend the scheme to anyone interested in media and sport as it’s provides vital information, training and experience that will develop essential skills for the future, while also giving a fantastic chance to meet with other amazing people who will quickly become valued friends."

Jamie Gambrell, ex-BBC Kick Off Reporter, BBC Radio Northampton

"I choose to apply for the BBC Kick-Off Sports Reporter Scheme because it offered such good opportunities. The chance to work within a BBC radio team and help produce news over the summer seemed perfect for improving myself as a journalist.

The training days in the BBC Academy in Bristol were brilliant too. It was a fantastic way to meet others in the same situations as well as network with other people in the BBC. All the staff I met, at both Bristol and Northampton (my local station), were really friendly as well, which helped me to settle in quickly and get to work.

The scheme was an invaluable experience for me. I got the chance to help write the news headlines, go out and conduct my own interviews as well as produce a couple of my own sports packages. Another bonus from the scheme is having a mentor at your local station. My mentor was a great help and working at the station would not have been as easy without him.

The last 12 months, I’ve used my time with the BBC to help me in my degree and gain more experience in the field of journalism, although I know plenty of my peers went on to carry on working for their local station.

Overall, working at the BBC through this scheme gives you all the tools you need to succeed as a journalist. It not only helps you further your journalism career but develops you as a person, which was a great aspect of it for me.

If you’re interested in journalism, I wouldn’t hesitate to recommend applying."

Applications for BBC Kick Off Trainee Sports Reporter Scheme close on 8 May

There are plenty of opportunities available all across the UK, Northern Ireland and the Channel Islands.
We are looking for a good spread of talented applicants of both sexes, so particularly welcome applications from women as well as an ethnically diverse range of people.

Our scheme manager, Gareth Jones, has provided these Top Tips for anyone applying this year and you can find some extra support on our FAQ page.

Good luck to those who are applying - you never know where it may lead!

Production Apprentice: Olivia Nielsen on working at CBeebies, Sports Personality of the Year, and standing in the cold dressed as a pirate

2017-04-24T11:00:00+00:00

It’s safe to say that when I was 19 and 20 minutes away from starting a shift at my part-time retail job, I was more than stunned to receive a call telling me I’d secured a job at the BBC. If you had told me that after going to a state school, college, and then making the decision not to go to university, that a year later I’d be working for the BBC, I would never have believed it. I was completely overwhelmed with shock, happiness and pride that I could tell my family I now worked for the BBC. I was ready to throw myself into the deep end and grab the opportunity with both hands!

My background is mainly in theatre, and after college I spent a year working as a young director at The Royal Exchange Theatre in Manchester. I have virtually no media experience at all except a GCSE in Media Studies, so on walking into my BBC office on my first day, I had no idea what to expect. My apprenticeship is split into two placements, working as a runner on CBeebies for six months, and then as a production management assistant on CBBC for another six months, which allows me to get a feel for the editorial and production side of TV. It’s a completely new way of working for me, and I’m still adjusting to the steady and then suddenly rapid schedules of TV production, but I’m lucky enough to have a kind and supportive team behind me to help me learn and grow.

Last year, in November, less than a month into the job, I got the chance to work on the CBeebies Christmas Pantomime The Nutcracker at the Crucible Theatre in Sheffield. The BBC had created a Santa’s Grotto worthy Winter Wonderland for 2000 of our youngest audience members to enjoy just outside the theatre, with the live performance being filmed and streamed in the square for families to watch.

There’s something incredibly special about being able to interact with the audience who directly receives the content your team works so hard to create. It was wonderful to see the excitement and impact it has on them and their family’s lives. I had so many grateful parents approach me, and there’s nothing like knowing you’ve contributed to a family’s happiness for the day to make you forget you’re stood in the freezing cold dressed as a pirate.

A month later, I got an opportunity to work on a huge BBC event outside of my department – BBC's Sports Personality of the Year. The event was filmed in the Birmingham Genting Arena; and we were there for two 12 hour days to act as celebrity stand-ins, allowing the camera operators to rehearse for the live show. We were rehearsing with Claire Balding, Garry Lineker, Gabby Logan and Robbie Williams!

It was incredible to see the huge amount of dedication and effort that goes into planning for a live show. On the final day, we were lucky enough to get to watch the actual live show. The whole arena was electric, and I’ll never forget the feeling of being surrounded by Olympic Champions and to then turn around and see the arena we’d been rehearsing in for two days filled with 10,000 people, all ready to be broadcast live across the nation to six million viewers.

Production Apprentice: David Winfield looks back on his adventures throughout the BBC so far

2017-04-16T15:19:44+00:00

Spot Effects - Cooking In a Bedsitter, Radio 4

Having worked in Radio Drama as a Production Apprentice for around three months, some people feel I can transcend everything I’m learning into a 500-600 word blog. In reality this is a very difficult task, yet I shall attempt...

Within a month I had gone from performing spot effects in the 1950s for Cooking In a Bedsitter (see photo) to playing a grunting Viking in the background of Gudrun’s Saga to visiting Northanger Abbey in the 1750s. But it’s not just about the cool stuff (though I did get to cover the production coordinator for The Tidebreak - that was cool).

The department I work in is full of hard-working, lovely and dedicated programme-makers, and every single one wants you to learn, experience and enjoy. I cannot express how much insight I gained through people who give up their time to just sit and chat about their work, the industry and all those little things you won’t find in a book, or you won’t hear in a studio. This doesn’t just apply to the production staff, it’s the writers and actors that we have come in every week - the stories they might tell, or the inspiration they might give.

I've always been a firm believer that I will work in TV and Audio Drama in some way, shape or form. I wouldn't have it any other way. But from being here in the BBC you get to do things you haven't thought of before. I never imagined I'd get to work on 'Festival of Remembrance' for BBC One, and be entrusted with looking after 119 choristers! Being here at the BBC you get to do everything you've always wanted to do. It's not "Pllleeeeasssssse let me see The Archers" anymore, more likely someone says "Can I introduce you to the producer of The Archers, she's got time to have a chat with you…”

I'm not gonna lie, there are some tough days. Days when you don't think you're learning as much, or when you don't feel like you're contributing to the team as you want to be. But if you stick through that day, it's almost certain tomorrow will be amazing. And that's happened to me several times, some of the best things I've done or the best conversations I've had with people have happened 'tomorrow'.

If you stick with it, it's surely going to be amazing. I've stuck with it and this year I'm a production coordinator on The Tsars Series 2 and Tommies Season 7. What was this meant to be about again? I'm not sure either it just sort of typed itself. But if you're looking for a reason to join the BBC Apprenticeship Scheme here it is: you're inside the BBC.

Production Apprentice: Bridget Norman shares her experience working with BBC Radio 4

2017-04-14T10:23:08+00:00

For the last six months I've been working on Saturday Live, BBC Radio 4's Saturday morning show. It is a round table set up (four to five live guests in the studio) with individual interviews and informal chat between them. There are three pre-recorded items: a feature, a ‘Thank You’ slot and a celebrity’s 'Inheritance Tracks'.

I have been helping to find possible live guests, researching their potential, pitching them to my editor at our weekly ideas meeting and then writing briefs on the guests for our presenters. I help with the programme’s ‘Thank You' slot, too: this is where the team record listeners who get in touch with the programme to share their stories of people who did them a good turn but who they never had the chance to thank at the time. Some are so moving.

I suggest the Thank Yous that stand out from all the ones we receive, and then I may telephone the listener who has been agreed on to find out more about them before the recording. Sometimes I have a go at editing it ready for the programme. It has been a vertical learning curve but really exciting slowly taking on more responsibility in the team.

When writing a brief I've learned to make sure that I give the presenters accurate, interesting and succinct information. It's important because the show is ‘live’ so they need all their facts right before they go on air, unlike pre-recorded programmes there is no safety net. The brief should leave them curious to get as much as possible out of the guest they will be interviewing, but it must not take them too long to read quickly or they might miss key bits out.

Armed with a list of names that could be possible guests, I look into each one hoping to find any unusual hobbies or a personal story and then drop the ones that don't sound right for the programme. Saturday Live likes people who are fun, a bit eccentric and who have several ‘strings to their bow’.

For example, recently we had an architect on who had also twice been world air guitar champion (I know, who even knew there was one?) and a fly fisherman who helps conserve chalk streams and otters. Sometimes I discount people if they don't have enough hobbies, are a bit too worthy, or I can't find a personal angle for them – although there are exceptions. Before suggesting someone I firstly check if they are still available, whether they've been on the show before, and ensure I can sum up in one sentence for my editor why they would be a good guest.

Everyone at the BBC has been really friendly and welcoming, from the security guards - who I'm on first name terms with now - to my colleagues who have been here sometimes longer than I have been alive, but who still treat me as an equal. To me the BBC is like a lioness, slow to trust outsiders but once you are working there it protects you like one of its own.

It is strange how quickly you settle into a daily routine and forget that whilst you may just be ‘going to the office’, that office is in the massively respected institution that is the BBC. Being on one placement for so long has really let me get under the skin of the programme and work at tailoring my ideas to ones that answer the programme's central question of, is it fun? It has let me ease my way into the world of work, which is a big change from sitting A-levels at school, but just like exams you get out of work what you put in. It feels great being measured against the standards of those with more experience, giving me a benchmark to aim for and shows that the team value me and think me capable of improvement.

Speaking up in meetings was very difficult at first, but positive and encouraging feedback from my editor and producers has helped a lot with my self-confidence. My colleagues couldn't have been more supportive and as long as you know what you are asking for or need help with, people are only too happy to oblige.

So far this year I have both gained skills and developed as a person and learned how better to play to my strengths. In fact I have learned as much about myself as I have about the media industry, if not more! I won't pretend that there haven't been some extra challenges because of my disability. I am blind so, for example, I cannot see people's facial expressions which can be a barrier to starting conversations. I use speech assisted software which reads the screen to me, so I am nearly always wearing headphones. This means that people don't always think they can interrupt me, even though I would be only too happy to talk as I do enjoy a good chat.

As a result I am slowly learning to become more outgoing in order to build good working relationships. Rather than waiting 20 years or more to share my Thank You I will say it now, ‘Thank you BBC for letting me do this and here’s to the next few months being just as amazing.’

Production Trainee: Alia Cassam on why she applied for the Production Trainee Scheme.

2017-03-23T13:06:24+00:00

I remember sitting in my PTS (production trainee scheme) interview, and being asked to talk about the last few years of my experience since graduating from university. I blinked, took a deep breath, and said: “I took the scenic route.”

My path to the PTS was certainly unusual, and not one I could have ever have imagined. But a love of language, people, and the human voice, has led me into a new world of possibilities in radio production at the BBC.

I had grown up listening to BBC radio and it has always been a part of my life. During my Theatre Studies MA at Leeds University, I produced a radio play based on a George Orwell novel, and I loved making it. For some reason it never occurred to me to work in radio. Perhaps I thought it would be too tough to break into. Ironically, it was catastrophe rather than success that opened new doors for me.

Just a year after graduating, I developed a condition called M.E. (Myalgic Encephalomyelitis). This came as a complete shock – my hopes of a career dwindled, and while I’d made some improvements in my health, I remained significantly affected by the condition. Then in 2013, I experienced a massive relapse. It was one of the most difficult years yet, and I struggled to know how to make sense of things.

Later that year, I went to the Forward Poetry Prize readings at London’s Southbank Centre. I’d always been a poetry lover, and sitting in the auditorium, my head in a dizzying fog, I heard some words that seemed to make sense. Jeannette Winterson, the chair of the prize, spoke with passion about Seamus Heaney and his belief that “poetry should be strong enough to help”. In a time of desolation, these words felt truthful. And I wasn’t going to argue with Seamus Heaney.

A few months later, I received an email from the arts organisation Poet in the City. They were looking for new volunteers, and I decided to join. At the first meeting, I discovered they had a vibrant audio team and I mentioned that I’d once made a radio play, and that I’d love to develop my skills. I soon began interviewing guest speakers and editing recordings with poets, and I initiated and produced the organisation’s podcast. Inspired by the BBC broadcasts I’d listen to at home, I wanted to see if I could make my own programmes too.

With the support and encouragement of colleagues, it was suggested that I approach the BBC. Initially I was sceptical, but sure enough I saw that the Corporation had a disability hub and a scheme called Extend. I watched the online Extend video and read blogs by disabled staff. Feeling heartened, I made my application.

The PTS application process was rigorous, but I felt continually challenged and invigorated: I was being asked to think in new ways, develop myself, and really consider who I was and what I was about. At the hotel room in Birmingham for my final interview, I remember staring at a printout of an article I’d found on the BBC Get Creative website, which I'd kept near my suitcase. It said: “Can poetry really change your life?” I really hoped, and believed, that it could. And it has.

Now three months into the PTS scheme, and I’m working at the BBC’s Radio Documentaries Unit, the largest in the world. It's a privilege to be here, learning from the very best in the field, and gaining skills in research and journalism, recording, and how to construct complex documentary stories. I’m part of a team making work that is truthful and intelligent, surprising and joyful. Broadcasts, which in our confused and troubled times, are strong enough to help.

First Steps: Helping remove barriers for potential new talent

2017-02-22T13:09:46+00:00

The new First Steps mentoring programme is aimed at people who want to apply for one of the BBC’s sought-after New Talent schemes, but feel there is a barrier to them applying. It mixes practical advice with mentoring and work shadowing. It allows real talent to shine through and prepares people to make their application.

“We were looking for diverse, talented young people with a passion for some kind of media, who have that creative spark but who might find formal applications challenging,” explains Madeline Ferguson, partnership manager with the BBC Academy.

During three life-changing days, 24 people based in London and Manchester have been offered support with the aim of helping them to progress through the application process for the BBC’s Production and Journalism Apprenticeships when they launch on 13 March.

“It can be really daunting to apply for one of our apprenticeships and we appreciate that. The online questions, situational judgement tests and application to a deadline can be a tough process. First Steps is here to give a little bit of help to talented applicants from diverse backgrounds.”

Not open for general application, the Academy worked with partners like the Orpheus Performing Arts College (for young disabled artists), Clean Break (for female ex-offenders) and Talent Match (working with young people furthest from the jobs market) to find promising individuals in London and Salford.

On day one the participants met their mentors who were volunteers taken from BBC journalism and production teams and had a tour of TV and radio studios, as well as thinking about what it takes to make a programme during a pitching exercise. The next stage is a day of shadowing in the workplace, followed by a separate day of employability training - going through what makes a good application and offering some help with interview skills.

“I really enjoyed the [first] day. It was inspiring and exciting to see all the different departments and studios, and I really felt at home,” says Lucy in Manchester. “[It’s] confirmed to me that the BBC is the place I want to pursue my career, and I'm going to work as hard as I can to get there!”

On 13 March 2017 we open applications for our Production and Journalism Apprenticeship and Trainee schemes. The schemes start in September and are based across the UK.

We hope to run First Steps again in the future. Follow @BBCGetIn for announcements

Production apprentice: Alex Owen on his time at the Archers

2017-01-23T01:28:09+00:00

For the past couple of months I have been working on The Archers and BBC WM. During my time I have learned an awful lot about the BBC, how it works, how to communicate with people and the technical aspects of the job.

On The Archers I have been working as a spot effect assistant/assistant studio manager. This means helping out in the studio and working with the actors to create background sound effects. I'm also responsible for keeping the studio safe, taking care of health and safety.

During my day to day activities I read through scripts, make notes on the setting and how the sounds will play out within scenes. Here's an example:

"The scene is a village shop and some characters are stacking shelves, others are shopping and people are having a general good chat.”

For this scene I would ask the director and studio manager about mic position. (It's always helpful to have good communication between you and the directors.) Then I'd place the scene around the microphone. The shelves would most likely be a wooden box on its side and I will have a script in front of me while I follow the actors' lines.

I'll be the one stacking shelves which gives the illusion that it's the characters doing it. The actors don't tend to perform actual tasks as they are holding scripts. So I have to be mindful of loose wires, broken props and everyone's spacial awareness to make sure the scene plays out smoothly with no trips, falls or bumps.

When I'm not on The Archers I'm working at BBC WM. I had an amazing experience desk-driving the Sunny and Shay show when they were on an outside broadcast. I was expected to use the desk, control the mics and keep the timings. It filled me with a lot of confidence knowing that the BBC can trust me with these responsibilities and I hope that I will have a lot more in the future.

One of the BBC’s values is being “One BBC” and I really feel this is true. I have felt very welcomed into the organisation and I'm very much looking forward to greater opportunities in the year ahead.

Production apprentice: James Payton on his first weeks working at BBC Radio

2017-01-18T11:26:48+00:00

Faders and switches, presenters and countless cups of coffee (often decaf because I cannot handle the buzz). What a ride this has been so far, and a very enjoyable one. I’ve gone from marching to the beat of left right, left right in the military to working at the biggest broadcasting corporation in the world.

If you are reading this, and you are thinking of joining us, then do not hesitate for one minute. I can promise it will be the best thing that you ever decided to do, and worth every moment that you contribute.

I started working for the BBC on 26 September 2016. I'd styled my hair to the best of my ability (yet I can guarantee a llama would pull off a better hair style than me). I put on my best suit, polished my shoes and headed for the Mailbox in Birmingham.

It was a fantastic day meeting my new colleagues, learning stuff about the corporation and what would be happening on my scheme, about BBC values and various other things. I also got to experience the great foods of Birmingham - a £3 meal deal from Tesco. Every little helps, eh?

For this position, I braved the 50mph zones on the M6 and moved north from a small town called Redditch to Manchester. Leaving home was nothing new. Before the BBC I served in Her Majesty’s Royal Navy. But it was nice to live in a new home this time instead of a small university style box room, with a cramped en suite, loud neighbours and the distant echo of the firing ranges. I work at MediaCityUK and I am part of an excellent team.

Media City UK at sunset

I work predominantly on BBC Radio Four's You and Yours with the wonderful Winifred Robinson. I always compliment Winifred on her show and tell her how much I love listening to her present, but she thinks I say it to every presenter! If only she knew I don’t...

In my time so far, I have learned so much about engineering sound. We use some great software to edit packages that become part of a story on a radio show. I’ve spent a good amount of time working the desks, too (the audio desk that is), which is an excellent experience.

I am already really looking forward to working on the live programmes, and being the actual studio manager for a show. I think when I'm doing live shows, I will probably drop the decaff coffee, and move on to the real stuff! You've got to remain focused when you have that kind of responsibility.

What I've certainly learned - taking the audio part aside - is how closely you work with each other. Teamwork is a big part of all of this and if you end up working here, you’ll understand how crucial it is. For example, in a studio, a presenter isn’t a presenter without a studio manager. Studio managers can’t do their role if the production team aren’t there to come up with ideas. You get the idea.

It has been excellent to see how much everyone collaborates. It is an amazing feeling when things go as planned because you get a real sense of achievement.

The days can be really busy sometimes, which is great. You’re always on your feet, you have to think proactively about what is coming up next because having a radio-based role, there is no time for after thought, especially on a live show.

I am still in the early days of my time at the BBC, but I have never been so proud about working for a company before. I absolutely love my role. Every day is challenging, fun and interesting and I cannot wait to see how much more I develop over the coming year. Exciting times ahead. So go on, get stuck in! It’s the best decision you’ll ever make.

Production apprentice Jess Panchani, runner on Rio 2016: Parade of Heroes

2016-12-20T16:59:32+00:00

Gabby Logan interviews Olympic heroes, including Sir Chris Hoy

When I first started in this position, even when I got the interview, I was petrified and still am. I am not quite sure how I got here. When you get an opportunity like this one you don’t want to let it go to waste. This apprenticeship programme is all about me learning on the job and getting to know the company. I want to keep everyone updated on this journey I've had the opportunity to tag along on.

A little bit of background knowledge about me first: I’m newly turned 19, finished college last year, have no media experience and needed a change in perspective. Not everyone’s the same and uni just wasn’t for me.

Having done three weeks training in Birmingham and London, it was nice to be home and back into a routine. I can tell you now that I have made lifelong friendships. We’re working for a production company that has millions of people around the world tuning into its programmes every day. It’s astounding. The amazing thing about these training weeks was that the skills and information we learned are transferable to any department.

When I applied for this course I had no idea what I was getting into but the support and guidance I was given from the word go has been amazing. In my first week on the job I was able to work on a fantastic outside broadcast, which was the Manchester Olympic Parade.

My day started at nine in the morning and ended at around seven when we came up for air. My role that day was a runner, basically giving a hand where ever needed, from picking up make up mirrors to helping the talent get to where they need to be.

I met incredible Olympians such as Chris Hoy and Steve Brown and got to know a lot of different people. I may have only been a runner but it was nice to have the chance to prove to myself that I could do this. The great thing about this job is the amount of people you meet and everyone’s unique journey. It’s only been a couple of months and I have already had the opportunities to work on Match of the Day, Cbeebies Pantomime, RTS Awards and Sports Personality of the Year. Each programme had taught me different aspects of the industry in different departments. The great thing is none of these programmes saw me as an apprentice, they see me as someone who is willing to learn and widen my horizons.