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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!

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.

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.’

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: 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.