Why did you decide to pursue this course at the NFTS?
I have always had a passion for cameras since a young age, and after my undergraduate experience, I wanted to pursue a career in TV.
The course at the time was a one-year diploma, which was ideal for me as I wasn't looking to step away from work for an extended period, especially after already completing a three-year course at university.
Another major draw was the strong reputation of the NFTS and their well-established connections in the industry. In particular, the inclusion of a six-week work placement at Sky was a huge incentive as it provided a rare opportunity to gain hands-on experience in a professional environment like Sky, where I could imagine myself working.
Briefly tell us how the course was structured.
The course starts with a couple of lectures that dive into the theory of television and the various roles and responsibilities in broadcast production.
For most parts, however, the course was heavily practical. We spent a lot of time in the TV studio at the NFTS working on our craft through various exercises and learning different ways to shoot broadcast content, including following a script for a drama show and for live music and quiz shows, which could be 'as directed'.
There was a six-week work placement at Sky roughly halfway through the course, and I also got a week's work experience on EastEnders.
For the remainder of the course, the students work alongside producing and directing students to create a variety of TV shows.
Additionally, there was an end-of-year task in which the students picked a programme of their choice to write an essay on, thoroughly breaking down and assessing how the show is produced from the perspective of their respective craft.
How does your course relate to your current job?
What I learned during my course couldn't be more relevant to what I'm doing now. The live exercises we carried out in the course, as well as many of the camera operating fundamentals I picked up, certainly laid the foundations for my career. I am now operating different types of cameras in studios and on outside broadcasts (OBs).
What's a typical day like?
This all depends on what show/production I'm working on. However, most of the content I work on is live, so a typical day could mean:
- arriving at the TV studios or an arena/stadium
- rigging my camera
- carrying out checks to ensure it's all working and in the right position to get the shots required.
We then perform a FACS check (or facilities check) with the director to ensure that the picture, comms, and tally signals are all good and properly fed to the gallery or the OB truck.
The next steps would be to rehearse the show before we go live on air. Once we are off-air and the set or arena has been cleared, we will then pack down/derig our cameras.
What three key skills or attributes do you need to succeed in your job?
There are loads of skills that are important in my role. However, if I had to pick three key ones, they would be:
- A fundamental knowledge of cameras and an eye for a shot. This is very important as it's the bread and butter of what we do.
- The ability to adapt, adjust and react quickly under pressure is crucial for a cameraperson, especially while working on a live broadcast.
- Communication and teamwork skills are essential, as most productions require us to work closely with directors, producers, presenters and sound operators. It is important to be able to follow instructions and coordinate well with others.
Can you tell us about any TV shows or events you've been working on, and your role in the production process?
I have recently been working on Premier League Darts, which has been taking place weekly in a couple of major cities across the UK and Europe, including Berlin, Brighton, Glasgow, Liverpool and Manchester.
My role on this show is a jib operator, which requires me to build and operate an 18 to 30-foot jib (depending on the venue's size) to cover players' walk-ons and crowds during matchplay.
What are your career highlights to date?
I have two career highlights that stand out. My sporting one would be filming the historic Anthony Joshua versus Wladimir Klitschko fight at London's Wembley Stadium in 2017. My non-sporting one would be covering the Queen's Platinum Jubilee celebrations for Sky News outside Buckingham Palace in 2022.
How has your role developed, and what are your career ambitions?
As broadcast technology continues to advance rapidly, my role has evolved as well. With the introduction of automation systems and remote production workflows, the conventional means of producing television are constantly changing, and this shift has required adapting to technological advances, such as robotic cameras and virtual reality (VR)/augmented reality (AR) systems, while maintaining high creative and technical standards.
My dream would be to work on major sporting events such as the Olympics and the World Cup, as well as to train in other camera configurations, such as the Steadicam.
What tips would you give to others looking to work in this area of TV production?
- Show versatility and curiosity. Being open to trying different roles/camera configurations, learning new skills and stepping outside your comfort zone all build your experience and make you more valuable on any production.
- Be reliable, professional and easy to work with, as making genuine connections can open more doors than you expect. This industry is very small, so your reputation and relationships really matter.
- Practice as much as you can. The more time you spend behind a camera, refining your skills and experimenting, the more confident and capable you will become.
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