Category: News

  • Fraser Ayres: We must ask whether our industry contributed to the riots

    Failure to normalise inclusion on and off screen has a real world impact – we cannot brush it under the rug again

    Many people believe ignorance is at the heart of racism. It seems there’s still a lot of work to do.

    It’s been a tough couple of weeks. . For some, the shocking violence and intimidation we’ve witnessed across the country and within our communities was merely an academic discussion over dinner; but for others, it was feeling too unsafe to leave the house and fearing for our children’s safety, hiding them in cupboards as their front doors were being kicked in, their places of worship and home communities were torched, or it was cancelling kids football matches because adults felt emboldened to use language they wouldn’t have done just a couple of weeks ago.

    It’s easy to blame ‘tattooed skinheads’ throwing bricks, but it’s much harder to confront the biases within our own circles. As we point fingers at certain media outlets, we need to ask ourselves: has our own industry contributed to this instability? Have we given platforms to those with racist agendas? Normalised hate as a ‘debate’ or ‘opinion’ that needs to be aired in the name of impartiality and the pursuit of ‘noisy’ and ‘clickbait’ content?

    This time reminds me of post 9/11, with a mix of the ’80s in there, and is all the more toxic for the combination. I don’t wish to speak for south Asian communities, but it’s clear that the Muslim and Asian community have been placed at the pinnacle of this ‘hierarchy of hate’ and are being targeted by not only these extremists, but by our own media. Projects have been cancelled, wording in newspapers leans into ‘otherness’ and alienation, and voices are being ignored or stifled.

    Fuelled by the misinformation delivered to them, they do not care for truth or facts and their actions are impacting brown and Black communities across the UK.

    Even before the riots, our industry had seen a collapse in inclusion and its benefits. DEI heads sacked, a raft of negative experiences by non-white crews on set and a plethora of shows with diverse cultures at their heart with non-reflective crews being made by even less reflective production companies.

    There is racism in our own industry.

    At The Triforce Creative Network and Dandi.org.uk we have seen a rapid retraction – and it’s not because 40,000 people across the UK at all levels aren’t willing and ready to work. It’s that commissioning has drastically reduced and the industry and production companies are reverting to ‘my old mate’ – and really, who can blame them? Their own friends get the job done, are struggling, they know their kids, and it’s natural to help friends in need – but who are most impacted by these shifts in our industry and society?

    It is within these particular groups that we see droves of production and creative talent being forced to leave our industry and take their talents elsewhere. We know we need their stories and expertise, but if we’re not careful, none are going to be around to share them.

    Global majority– and as many have pointed out in recent years, specifically south Asian – content is something severely lacking on UK broadcasters’ slates, and it’s something incredibly profitable. Who would have thought the largest demographic on the planet (over 80%) would make the largest audience?

    Our problem is very much our solution – but only if we rectify it, and I hope our industry won’t do as we did with BLM and Black Square Summer and simply sweep these issues under the rug, otherwise we really will just become Production Hub UK.

    However, white people are feeling good after the riots – the anti-racist protests were big and vocal against those who bothered to turn up, and I’m being told I should be glad. But I also know that today, right now, there are brown and Black people going about their everyday lives of racist moments in shops, micro and not-so-micro aggressions at work, randos on the tube home, their children at schools being abused by adults, their neighbour as they step into their home. And these moments are populated by the people who went on the riots, have apologised for them online, or delivered a ‘yeah, but…’ at Sunday roast. The people we inform and steer through our content.

    This is a challenging conversation during a financial drought, but it’s one that impacts what we do, and the world we and our children are living in.

    This is no longer entertainment. This is real. Being an ally isn’t a part time job, just as having colour in your skin isn’t a part time job – and we also need to show allyship and solidarity between global majority communities.

    So let’s return to the good ol’ days when racism was definitely bad, and those who spread it were vilified, not sanctified. Let’s normalise inclusion on and off screen and show our audiences that the world outside of their own is exciting and engaging, not terrifying and dangerous.

    Unfortunately, those most affected don’t get to decide what happens next — so everybody, please, let’s do our bit

    Broadcast article – https://www.broadcastnow.co.uk/comment/fraser-ayres-we-must-ask-whether-our-industry-contributed-to-the-riots/5196265.article

  • Regional Breakthrough Writers Unveiled: We are proud to announce our incredible cohort!

    At DANDI, we are thrilled to announce the 11 writers who have been chosen for the Regional Breakthrough Writers Programme, as delivered by ourselves in partnership with ScreenSkills. The programme is commissioned and funded by ScreenSkills’ High-End TV Skills Fund, with contributions from High-End TV Production.

    The 11 writers are being provided with a 6-month development opportunity alongside additional training and support, as organised by the HETV Skills Fund and DANDI. They will be paid £15,000 as an initial option fee and will have the chance to develop their original High-End TV drama idea with their partnered production company. At the end of the 6 months, the production company will decide to either extend the option and continue to develop the project or will return the rights to the writer.


    On Tuesday 28th November, we met the writers at our launch event in Birmingham. The day began with an informal lunch and an introduction to the DANDI team followed by a fireside chat with writer, Avril E Russel and Script Editor, Yasmin Kalli. The writers had the opportunity to discuss the HETV production, Three Little Birds, on which both Avril and Yasmin Kalli worked, and were able to ask them questions about their experiences of the industry. Both guests had their own unique insights and a lot of advice for the writers!

    Shortly afterwards, we were joined by Development Editor, Yasmin Ali from Rope Ladder Fiction for an Introduction to Development and Story Structure workshop. The session gave the writers an overview of the departments they will be working with and how they can begin to develop their ideas and creativity.

    Finally, we hosted a networking session to give the writers the chance to chat further and to meet the production companies and industry professionals in attendance. We had an amazing time getting to know everyone in person and are immensely proud to be supporting this talented cohort.


    The Regional Breakthrough Writers and the production companies that are supporting them:

    • Sufiyaan Salam – Northern SISTER (Manchester)
    • Lorna Riley – Rope Ladder Fiction (Manchester)
    • Rachel Clark – Saffron Cherry Productions (Manchester)
    • Jodie Ashdown – LA Productions (Liverpool)
    • Steph Lacey – Warp Films (Sheffield)
    • Katrina Smith-Jackson – TriForce Productions (Midlands)
    • Tamsyn Kelly – Sid Wild Films (Sid Gentle Films), (Bristol)
    • Lydia Rynne, Emma Pritchard and Azuka Oforka – 5 Acts Productions, part of ITV Studios (Cardiff)
    • Mariama Ives-Moiba – Hill 5.14 Media (Bedford)



    At DANDI, we will continue to check in with both the production companies and writers and will be providing the writers with training sessions over the course of the programme. As well as gaining invaluable industry knowledge, connections and taking their own creative work on an incredible journey, it is our hope that our writers can connect up with each other and find support they can carry with them throughout the rest of their career.

    In the words of our very own Sam Fray, Talent Development Lead at DANDI, “We can’t wait to see what stories and talent emerges over the coming months.”

    DANDI team members Sam Fray, Talent Development Lead and Charlotte Taylor, Senior Talent Manager at the Regional Breakthrough Writers launch event
  • Regional Breakthrough Writers: An exciting announcement

    At DANDI, we are very excited to announce an update to the Regional Breakthrough Writers programme! We have partnered with three additional independent production companies for a brand-new regional writer’s programme for writers based outside the M25 looking to break into High-end Television. This programme is supported and funded by the ScreenSkills High-End TV Skills Fund with contributions from UK high-end TV productions.

    The Regional Breakthrough Writers programme now offers nine emerging regional writers the opportunity to partner with a production company, for a programme of training and support, alongside a developing a brand new HETV idea under a paid six-month option with their partner production company.

    DANDI will be delivering the programme, following similar successful programmes such as WriterSlam for UKTV, which resulted in four new comedy pilots being produced for the channel in 2022.

    This groundbreaking programme aims to create opportunities for talented writers from underrepresented backgrounds in the regions who are trying to establish themselves and develop their voice.

    The companies participating in the programme are:

    Warp Films (Sheffield)

    LA Productions (Liverpool)

    Sid Wild (Bristol)

    Northern SISTER (Manchester)

    Saffron Cherry Productions (Manchester)

    TriForce Productions (Nottingham)

    5 Acts Productions, part of ITV Studios (Cardiff)

    Hill 5.14 Media (Bedford)

    Rope Ladder Fiction (Manchester)

    Each company is searching for their own writer – some have already identified who they will be working with. TriForce Productions and Rope Ladder Fiction are currently working through their applications from the open call out they had, but Sid Wild are now open for a short time accepting applications. You can find out more and apply here on the TCN Talent Pool:  https://jobs.thetcn.com/jobs/Careers 

    This opportunity is open to any writer without a high-end television writing credit. Writers with credits in Children’s and Continuing Drama are welcome to apply. You do not need to have agent representation to apply. 

    What is the process?

    The selected candidates will be paid £15,000 for an initial option fee spanning six months. At the end of the process the partner production company will either decide to extend the option and continue to develop the project, or return the rights to the writer.

    Throughout the six-month programme, the selected writer will work closely with their partner production company to develop their idea through to a pilot episode by the end of the six months.

    Alongside their work with their production company, the successful applicants will also be provided with regular training alongside the rest of the cohort, organised by the ScreenSkills HETV Skills Fund and Dandi.

    Key Dates

    Mid November – Final writers selected and informed.

    (tbc) 28th November – scheme launch event in Birmingham (travel expenses covered)

    How to apply and FAQs

    Please head over to our jobs website to find out more and apply. Sid Wild are keen to hear from writers based in the South-West of England.

    Sid Wild https://zurl.to/4bGL?source=CareerSite

    About the ScreenSkills’ High-end TV Skills Fund

    Launched in 2013, the High-End Television Skills Fund has invested over £36 million in skills and training. The five major broadcasters support the Fund along with streamers including Acorn Media, Amazon, Apple, Disney, Netflix, Sony and Warner Media and since launch 1,090 productions have contributed to the Fund.

    ScreenSkills is the skills body for the UK screen industries. Industry funded and business-led, it helps to train people at every career stage who make UK content which everyone loves and trusts. ScreenSkills’ Funds play a leading role in the creation of high quality, accessible and standardised training and development programmes that creates and sustains a skilled and inclusive workforce, enabling growth and future innovation, and actively contributing to the future creativity, health and prosperity of the sector.

  • The significance of Costume Design and Stylists in TV

    Written by Kudzai Chinembiri

    Costume design is a focal point in the TV and Film industry, it plays a huge role in developing and defining a character’s storyline and personality.

    A costume designer’s role is to help communicate/convey a character’s feelings through the screen to an audience. When you are watching a tv show or film, it’s important to know that every piece of clothing or accessory the character is sporting is intentional to their story.

    Top Boy:

    The gritty, London based crime drama does an excellent job at displaying the strong themes of the show through their characters’ wardrobe. Race, representation, crime and gentrification are all nuanced themes that are showcased accurately through Top Boy’s costume design.

    In the latest season of Top Boy, the Costume Designer Natalie Humphries introduced quiet luxury into the main cast’s wardrobe.

    As expected streetwear is the backbone of the shows style as it is prominent in the borough the show is set in (East London), although the shows costume designer has changed with each season the continuity in the show has not faltered once.

    If you pay close attention you’ll notice the slight changes in each of the main characters style due to their positing in the gang, increased wealth and stand out storylines. Fans noticed certain characters style progression more than others including Jaq (played by Jasmine Jobson), Shelly (played by Little Simz), Sully (played by ‘Kano’ Robinson) and Dushane (played by Ashley Walters).

    Top Boy Costume Designer, Natalie Humphries told Esquire: ‘The social realism of the scripts demands clothes that are true to the culture and the lived experience of those communities.’

    Image Copyright: Netflix

    Bridgerton:

    This period drama has become a phenomenon across the globe for its diverse casting and steamy storylines, however it is widely praised for its sensational, flamboyant and impressive costume design.  

    Season 1 costume designer, Ellen Mirojnick told British Vogue she used the regency period as inspiration, paired with a 50s and ‘60s colour palette. In Season 1 Ellen Mirojnick and her team made 7,500 pieces of costume including “all of the period specific” underwear.

    In Season 2 viewers were even more captivated with the lavish Regency style, as Costume Designer Sophie Canale, who assisted on season 1 took  the lead role for the second season. Sophie collaborated with her team to combine European and Indian Styles to craft intricate costumes for the characters.

    In order to craft the perfect costumes for an eight episode season, Sophie Canale chose to focus on colour coding, style cues, fabrics and detailing.

    For colour coding Sophie Canale details in The Hollywood Reporter:

    ‘We used different colours for the different families: a lot of bright, citrus colours for the Featheringtons: differing from the Sharma sisters who are also quite distinctive. Kate (played by Simone Ashley) is a strong character, portrayed in jewel tones of India, teals and purples to reflect where she is from. Edwina (played by Charithra Chandran) was styled in pinks, mauves and lilacs to give her a softer look.’

    Interestingly enough, the costumes aren’t just pretty to look at, they include hidden meanings to some of the characters wardrobe’s. For example, the shows leading family The Bridgerton’s frequently sport pale colours to symbolise the family’s class and standing.

    Pale blue strengthens the notion of class as at the time it was commonly found in fine China.

    In contrast, the Featheringtons are seen wearing the brightest colours, (particularly noticeable in season 1) each one of the daughters wearing bright shades of pink, green and yellow. This decision was made to represent the family’s new money and further suggests they’re outsiders of the upper class.

    Image Copyright: Netlfix
    Image Copyright: Netflix
    Image Copyright: Netflix

    How to become a Costume Designer:

    The journey to become a costume designer begins where most careers in TV and Film start, this is usually working your way up by starting out as a costume trainee or runner. However almost any entry level experience in TV can eventually lead you to your dream role in costume design, this is through networking and building connections with talent in the industry.  

    To be a costume designer there are a few key attributes you will need, in order to build a fruitful career in this sector.

    • Creativity: all costume designers should have a visual eye and possess strong creative instincts. such as being detail oriented, organised and artistic.
    • Organisation: It is vital that a costume designer has the ability to manage their workload by actively using tools to help manage their duties in a pressurised environment. In the world of costume design you can encounter various tasks, deadlines and urgent duties at any time, if you have the right tools and organisational skills already available this makes the job a lot easier.
    • Research: Every costume designer must dedicate their time to researching and learning about the costumes they’ll by styling on a character, this allows them to build a substantial amount of knowledge on the character and what pieces of clothing is needed to support their actor or actresses role/storyline. This is especially important for TV and Films that are set in a specific time period.
    • Communication: In your role as a costume designer for television, you’ll be required to work closely with multiple departments and engage in creative discussions with production teams. Additionally, you’ll need to have productive dialogues with actors to establish a strong, professional relationship. Ultimately, filmmaking is a massive collaborative effort, where each department plays a crucial role in ensuring effective communication and a successful end result.

    In conclusion, costume design is an essential and intricate aspect of filmmaking and television production. It is an art form that brings characters to life, enhances storytelling, and adds layers of meaning to the visual and emotional experience of the audience. Whether it’s conveying historical accuracy, cultural diversity, or character development, costume design is a critical element in the success of any film or TV project.

    Sources:

    https://www.netflix.com/tudum/articles/sex-education-costumes#:~:text=We%20wanted%20to%20show%20the,You%20can%20express%20yourself.%27

    https://www.screenskills.com/job-profiles/browse/film-and-tv-drama/craft/costume-designer-film-and-tv-drama/

    https://www.esquire.com/uk/style/fashion/a45022733/top-boy-season-five-costume-designer/

    https://www.backstage.com/magazine/article/how-to-get-started-in-costume-design-70464/

    https://www.standard.co.uk/lifestyle/top-boy-fashion-style-streetwear-netflix-kano-jasmine-jobson-b1108558.html

    https://www.vogue.co.uk/arts-and-lifestyle/article/bridgerton-costume-designer

    https://www.insider.com/hidden-meaning-of-bridgertons-most-iconic-fashion-outfits-2021-1#the-featheringtons-on-the-other-hand-adorn-bright-shades-of-yellow-pink-and-green-which-symbolize-that-theyre-outsiders-3

  • Regional Breakthrough Writers: An exciting new programme for emerging writers in HETV

    At DANDI, we are very excited to announce we have partnered with six independent production companies for a brand-new regional writers programme for writers based outside the M25 looking to break into High-end Television. This programme is supported and funded by the ScreenSkills High-End TV Skills Fund with contributions from UK high-end TV productions.

    The Regional Breakthrough Writers programme offers six emerging regional writers the opportunity to partner with a production company, for a programme of training and support, alongside a developing a brand new HETV idea under a paid six-month option with their partner production company.

    DANDI will be delivering the programme, following similar successful programmes such as WriterSlam for UKTV, which resulted in four new comedy pilots being produced for the channel in 2022.

    This groundbreaking programme aims to create opportunities for talented writers from underrepresented backgrounds in the regions who are trying to establish themselves and develop their voice.

    The companies participating in the programme are:

    Northern SISTER (Manchester)

    Saffron Cherry Productions (Manchester)

    TriForce Productions (Nottingham)

    5 Acts Productions, part of ITV Studios (Cardiff)

    Hill 5.14 Media (Bedford)

    Rope Ladder Fiction (Manchester)

    Each company is searching for their own writer – some have already identified who they will be working with but two, both Rope Ladder Fiction and TriForce Productions, are open to applications. You can find out more and apply here on the TCN Talent Pool:  https://jobs.thetcn.com/jobs/Careers

    This opportunity is open to any writer without a high-end television writing credit. Writers with credits in Children’s and Continuing Drama are welcome to apply. You do not need to have agent representation to apply. 

    What is the process?

    The selected candidates will be paid £15,000 for an initial option fee spanning six months. At the end of the process the partner production company will either decide to extend the option and continue to develop the project, or return the rights to the writer.

    Throughout the six-month programme, the selected writer will work closely with their partner production company to develop their idea through to a pilot episode by the end of the six months.

    Alongside their work with their production company, the successful applicants will also be provided with regular training alongside the rest of the cohort, organised by the ScreenSkills HETV Skills Fund and Dandi.

    Key Dates

    30th October – Application deadline.

    Mid November – Final writers selected and informed.

    (tbc) 28th November – scheme launch event in Birmingham (travel expenses covered)

    How to apply

    Please head over to our jobs website to find out more and apply.

    Rope Ladder Fiction Opportunity https://zurl.to/yQBT?source=CareerSite

    TriForce Productions Opportunity https://zurl.to/KHPx?source=CareerSite

    You can apply for both if you wish, but please read the briefs carefully to make sure your idea is suitable.

    About the ScreenSkills’ High-end TV Skills Fund

    Launched in 2013, the High-End Television Skills Fund has invested over £36 million in skills and training. The five major broadcasters support the Fund along with streamers including Acorn Media, Amazon, Apple, Disney, Netflix, Sony and Warner Media and since launch 1,090 productions have contributed to the Fund.

    ScreenSkills is the skills body for the UK screen industries. Industry funded and business-led, it helps to train people at every career stage who make UK content which everyone loves and trusts. ScreenSkills’ Funds play a leading role in the creation of high quality, accessible and standardised training and development programmes that creates and sustains a skilled and inclusive workforce, enabling growth and future innovation, and actively contributing to the future creativity, health and prosperity of the sector.


  • DANDI AND SCREENSKILLS’ HIGH-END TV SKILLS FUND SUPPORT  

    REGIONAL WRITING TALENT WITH NEW PAID PROGRAMME  

    Six partnered indies will provide six-month paid for development options for emerging writers 

    Northern SISTER, Saffron Cherry Productions, TriForce Productions, 5 Acts Productions, Hill 5.14 Media and Rope Ladder Fiction all taking part in exciting new initiative 

    17 October 2023, LONDON:  

    DANDI, the one-stop diversity and inclusion support service for the entertainment industry, and ScreenSkills’ High-end TV Skills Fund, is launching Regional Breakthrough Writers; an exciting new programme for writers based outside of the M25 looking to break into high-end television drama.  

    Commissioned and funded by ScreenSkills’ High-End TV Skills Fund, with contributions from High-End production, the groundbreaking programme delivered by DANDI will see six emerging writers from underrepresented backgrounds in the regions partner with one of six independent production companies that have committed to providing a six-month paid development role, alongside additional training and support.  

    The successful applicants will also be provided with regular training organised by the HETV Skills Fund and DANDI which was set up to help production companies, organisations and broadcasters find off-screen talent from all walks of life, and at all levels of experience – from trainee to HOD, intern to executive or clerical to creatives.  

    Each production company will recruit their own writers to be part of the programme and the selected candidates will be paid £15,000 for an initial option fee spanning six months. Not only will they get the chance to develop their brand-new High-End drama idea, but they will also gain the opportunity to hone their craft and develop their identity and voice. At the end of the process the partner production company will either decide to extend the option and continue to develop the project or return the rights to the writer. 

    The production companies participating include Northern SISTER (Manchester), Saffron Cherry Productions (Manchester), TriForce Productions (Nottingham), 5 Acts Productions, part of ITV Studios (Cardiff), Hill 5.14 Media (Bedford) and Rope Ladder Fiction (Manchester). 

    Sam Fray, Talent Development Lead at DANDI said: “DANDI was started to change the face of production crews and give genuine opportunity to talent from diverse backgrounds to work in the entertainment industry. This new programme is a major step forward in further in levelling up the playing field giving writers from all areas of the UK, the chance to have their experience, voice and point of view seen and heard and thanks to the ScreenSkills High-End TV Fund, they will be paid to do so for at least a six-month period.  We couldn’t be prouder and more passionate to be part of it.” 

    Kaye Elliott, ScreenSkills’ Director of High-End TV added: “The Regional Breakthrough Writers programme, commissioned by the High-end TV Skills Fund’s Regions Working Group is an exciting chance to seek out and develop new potential writing talent to work in high-end TV production. 

    “Providing opportunities like this for under-represented new writers to get their work seen and their voices heard is another great example of how industry is working together to create opportunities and industry growth.” 

    The programme is open to any writer without a High-End television writing credit although writers with credits in Children’s and Continuing Drama are welcome to apply. You do not need to have agent representation to apply. The application deadline is 30th October, with final writers being selected and informed by mid-November.   

    To apply for Rope Ladder Fiction use the following link – https://zurl.to/yQBT?source=CareerSite

    To apply for TriForce Productions please use the following link – https://zurl.to/KHPx?source=CareerSite  

  • Calling Theatre Creatives, this is for you!

    Written by Julia Blackwell

    Adapting Your Theatre CV

    At TriForce, we speak to many talented people from a wide range of backgrounds, and we love hearing about what your experience can bring to the world of TV! Recently, we have noticed people with a background in theatre both contacting us directly about transferring over to TV, or applying to the roles on our TCN Talent Pool.

    Whilst there are people who regularly work between these two fascinating mediums, we also speak with people who are unsure about what will make themselves and their applications stand out. So last month we decided to outreach to those working in theatre to find out a bit more about what their key transferable skills might be, and to encourage people to tell us how good they are!

    Below are some tips on how we think you can adapt your theatre CV to roles at various levels within the world of TV.


    Laying Out Your CV


    Remember that the person looking at your CV will most likely never have met you and will not know anything about your experiences. They are also likely to be looking over a large number of CVs, all from people wanting to prove that they are the best person for the role. So make sure yours is clear, concise (no more than two pages) and easy to read!


    When you have a range of jobs and work experience it can be difficult to know how to divide your CV up. For example, if you direct theatre, but also work as a teacher and have a small company for filming showreels – it can be difficult to know how to order everything you’ve done! Once you have checked that your name and contact details are clear and correct, subheadings can be a great way to guide a recruiter through your career history.


    Key Skills


    A Key Skills section can be a fantastic way to highlight what you can bring to a role, or what will make you stand out to a recruiter. For example, we chat with a lot of people who can speak multiple languages but have not listed this on their CV. If you can speak more than one language or can use specific software or equipment then make people aware! We also advise about 3 – 6 bullet points if you would like to include a Key Skills section.


    Creative Industry Employment/Experience


    You may be someone who has only worked in creative industries, or you may be someone who also has another job such as teaching or within hospitality. If you do work in more than one industry then the use of a subheading such as, Creative Industry Employment, can be a great way to ensure that the creative work the recruiter may be after can be easily identified. At the same time, this allows you to list work in a clear and chronological way.  


    Don’t presume that others know what your job(s) involves! The same job title can mean different things, and different people may have various understandings of that role. So tell us about your work. About 3 lines that summarise what you did on a job are a great way to give someone an overview of what you learnt in a role. Make sure to also mention about any shadowing or volunteer work you may have done as this really helps us to understand your experiences so far.


    Other Employment/Experience


    The work that you do/have done outside the TV and Film industry will also involve transferable skills that can be of huge value within TV. Even if you cannot see it yourself, there are a lot of roles out there that require for example, strong communication skills, admin and being able to adapt to working withrange of people within a fast-paced environment. Hospitality, teaching and working front of house are all examples of roles that can develop these attributes. So again, let us know!


    Education

    What you decide to include about your education can be dependent on the role you are going for. For example, if you are applying for a role in Costume and specifically studied Costume as part of your studies then this can be of value to include. It demonstrates that you have a strong interest in the area. If your study is unrelated then you may still wish to include your most recent, or highest level of education. A simple line that includes your qualification, grade and institution is absolutely fine.


    And finally… GDPR statement! It’s a good idea to add a line about General Data Protection Regulation to your CV. For example, I give permission for this CV to be shared for GDPR purposeswill allow employers to keep your CV on file and share it with others. It may be part of what gets you to get your next job!


    Examples of Roles in Television


    There are numerous roles in theatre that many people have never even considered, and it’s exactly the same for TV!

    Below are a few examples:

    Costume Designer


    Costume can be a wonderful area of TV to transfer into. You will collaborate with Directors and Producers to break-down a script and use carefully crafted visuals to tell audiences about the characters, and the world around them. You will need to navigate responsibilities such as working with budget constraints, communicating with your team and using your knowledge and skills to enhance an overall production through both costume and creativity!


    If you are transferring into TV you may have to start in positions that are deemed more entry level from what you are used to. However, this will help you gain the skills needed to build yourself up within a new medium. There are various roles such as, Costume Trainee, Costume Standby, Costume Maker and Costume Design Assistant in which you can gain valuable experience as you move up towards Designer.

    Prop Master


    Prop Masters take on a vital role within the Art Department and communicate with many others to help identify what is needed for a set and/or scene. It can be an incredible area to work in and one that you may be interested in if you enjoy a hands-on role! You will be expected to do your research, to make decisions when comes to what to hire, and to take the lead when it comes to transporting the props that are needed on production.


    To become a Prop Master, you will need to be an organised individual with a talent for craftsmanship. To learn more about the role and advance towards this more senior position you will need to work your way up in the Props department. Roles can include, Standby Props, Dressing Props and Assistant Props Master. Similar roles within the theatre can help you to stand out when applying to these roles in TV. Just make sure to highlight your skills!

    Script Editor


    If you enjoy working with scripts and supporting writers with their story, then a Script Editor may be the ideal role for you! Script Editors work closely with writers and others in the development team to help the bring a script up to the best possible standard. It’s a creative role that also requires you to consider budget, time constraints, and what is physically possible within a script.


    You may be a playwright, or you may read scripts for a theatre as a Dramaturg. If you think that a Script Editor is the job for you, then look out for opportunities such as Script Reader. From there you can advance into roles such as Script Secretary, Researcher and Assistant Script Editor as you make your way up the Development ladder. All of these are wonderful roles that can help you discover what is right for you within TV!


    Gaffer


    The Lighting department is an exciting area of TV and one that you may already have considered if you are a Lighting Technician. In TV, the Gaffer works closely with the Director of Photography (DoP) to light a scene. As a Gaffer, you will work with the lighting team in various environments, work quickly and efficiently between shots, and be responsible for the safety of your team as you work with lighting equipment and electricity.


    To become a Gaffer, you not only need a strong understanding of light and important electrical and safety knowledge, but you also need to work your way up to this role. Gaffer is senior position, but there are plenty of opportunities to learn from as you experience different jobs. Look out for Lighting Trainee roles. You could also take on positions such as Spark and Best Boy. All of which require people with a creative eye and technical talent!


    Location Manager


    A Location Manager does exactly what you would expect them to do, they manage the locations for a TV programme! It is an interesting and important part of a production. A huge part of this role is of course finding the locations, negotiating logistics with whoever may own the location and ensuring that everything is safe for the shoot. It is an interesting role that gets you out and about and allows you to speak with a wide range of people!

    If you have an interest in locations and the ability to visualise how a scene may fit within a particular space, then Locations could be an incredible step for you! Locations can also be a good way to enter TV in general as it gets you speaking with people. Roles such as Locations Marshall, and from their Locations Trainee or Runner, are what you need to keep an eye out for. Alongside any experience you may be able to gain at various live or outdoor events.

    First Assistant Director


    You may have heard of an Assistant Director role and in TV there are three main levels to this. The First Assistant Director (1st AD) is the most senior AD position. In this job you will be a crucial part of not only planning a filming schedule prior to the shoot, but also breaking down a script, being out and about on recces, and being part of managing a set during the production so that the director can focus on their own role. It’s a very busy but exciting job!


    For this role, you need to be used to remaining organised and calm in hectic and fast-paced environments. So let us know where you have utilised such skills! And of course, as with all the above roles, the 1st AD is a senior position that requires experience. If you are at entry level for TV, you need to be looking for a Floor Runner position as this will enable you to assist with a shoot. From there, there is Crowd AD, 3rd AD, 2nd AD and finally – 1st AD!

    We hope that this has been a useful overview for you of how to make your CV stand out, and has given you an idea of what jobs are out there in the ever-changing landscape of TV! If you have any more questions, please do not hesitate to contact us at TriForce. We would also love to know what your specific skills and interest are, so that we can offer advice along the way, and look out for opportunities that may interest and suit you.

    TriForce Creative Network (TCN) contact email:

    [email protected]

    ScreenSkills Job Profiles:

    https://www.screenskills.com/job-profiles/

  • Sorry I Didn’t Know’s Eddie Kadi announced as new contestant on Strictly!

    The entire Triforce Creative Network were delighted to hear the news that Eddie Kadi, our friend and team captain on ‘Sorry I Didn’t Know’, has been announced as a contestant on BBC show Strictly Come Dancing!

    It’s been a great year for Eddie, returning for series 4 of SIDK and landing nominations for his role in it. He was up for both the prestigious Royal Television Society Best Breakthrough Award and Best Breakthrough Presenter at the Edinburgh TV Awards. He is also in production for his own documentary with Channel 4.

    Eddie is one of the hardest working people around and has hosted both the official red carpet show for BET International and BET Africa in Los Angeles as well as being main stage host for the Afro Nation Festivals across the world.

    He has hosted the prestigious MOBO Awards and appeared on numerous TV formats including Blankety Blank, The National Comedy Awards, Tonight with Target, +44 Presents: The Noughties Podcast, Don’t Hate the Playaz, and Road to Afro Nation: David Live. He also fronts The Official Afrobeats Chart Show on BBC Radio 1Xtra and is a Team Captain on ITV’s entertainment format Sorry I Didn’t Know.

    On hearing the news, Eddie said, “WOW. Anyone who knows me, understands that music and dance is so important and central to who I am. I’m so unbelievably proud and honoured that Strictly and the BBC have asked me to join the 2023 Team. I promise you, I’m going to give it everything I’ve got. This is going to be a VIBE.”

    We know you’ll smash it, Eddie, and we’ll all be cheering you on!

  • Just a bit about Post-production

    What is Post-production?

    Post-production is the final step of the production process, it’s the editing of visuals and audio materials. During post-production, there are several tasks that occur such as cutting raw footage, assembling the footage, adding music, dubbing and sound effects.

    Post-production is a collaborative effort that can be anywhere from a few months to a year depending on the size of the project.

    Before the project is released to the public there a set of steps that needs to be taken to ensure a successful workflow, these include Retrieving raw footage, storing and organising raw footage, building the rough cut, refining the rough cut, visual effects, sound effects/mixing, final approvals and fine tuning then distribution.

    Getting your foot in the door:

    There are numerous ways you can start a career in post-production you can get an apprenticeship, go to university or start networking! Some entry level roles are:

    • Post-Production runner – The role of the post-production runner is to assist everyone in the office or studio. Tasks could range from problem solving, admin or making sure you have a coffee and tea ready for staff. All you need is to be great at communicating and even better at taking instructions.
    • Sound Assistant – The role of a Sound Assistant is to assist the sound department, they will aid the sound editing team and help with any tasks, such as sound recording, tidying the studio, greeting guests into the studio etc.  
    • Grading Assistant – A grading assistant assists the grader or colourist on a film, tv programme or commercial. The main task of a grading assistant is to prepare and load the files for the colourists to grade, in addition to assisting with the technical tasks, grading assistant will prepare the edit suite for the production staff who are attending the grading sessions.

    Diversity issues in Post-production Sound:

    Since Black Lives Matter (BLM) in 2020 the TV industry have had continued conversations on the diversity issues across the board, but there is a higher need for improvement in post-Production.

    The UK Screen Alliance, Animation UK and Access VFX published a report highlighting the diversity issues within the industry specifically VFX, post and animation and although there are improvements in comparison to previous reports, there is still a lot of work to be done.

    Please read the full report here: https://www.ukscreenalliance.co.uk/wp-content/uploads/2019/09/UK-Screen-Alliance-Inclusion-Diversity-in-UK-VFX-Animation-and-Post-Production-2019.pdf

    In an online research study conducted by Emma Butt, a Freelance Dubbing/Re-Recording Mixer with over 14 years of experience. Emma wrote ‘We have to ask why emphasis in recent years has been put on diversity in front of the camera whereas post-production sound, which accounts for 50% of a TV show or film and is an integral part of the storytelling process, is forgotten about?’

    https://www.bcu.ac.uk/media/research/sir-lenny-henry-centre-for-media-diversity/representology-journal/articles/diversity-in-post-production-sound-roles-in-uk-television-production

    If you would like to hear some more information on Post-production, Black Women in Post-production is an emerging network that has an informative podcast to keep you updated on the ongoing effort to support black women in post-production.

    https://www.youtube.com/@bwippnetwork

    More resources on post-production:

    ScreenSkills is a hub of information on all things post-production and the TV industry, here you will find information on various postproduction roles, tips on improving your skillset, and where to start in post-production.

    https://www.screenskills.com/training/skills-checklists-for-film-and-tv/post-production-department/

    Post-production house is also a great starting point for beginners to gain a hands-on experience, if you follow the link below, you will find a map of the 78 post-production houses in the UK.

    https://www.eleanoradler.co.uk/post/post-production-houses-in-the-uk-interactive-map

  • Book FREE Audience Tickets For Sorry, I Didn’t Know, Series 4!

    TriForce Productions Present: Sorry, I Didn’t Know…

    History, with a touch of colour…

    We’re very excited that ‘Sorry, I Didn’t Know…’ the comedy panel show about Black history is returning this year for season 4!

    TriForce needs YOU!

    We’ll be filming the show at Riverside Studios in Hammersmith July 14-16 and once more this year we have FIVE shows to chose from.

    The show is a hilarious comedy panel show, unearthing everything you didn’t know about black history. We’ve all heard of Mary Seacole and Martin Luther King, but did you know that the first self-made female millionaire was black? Or that the inspiration for the character Monostatos in Mozart’s The Magic Flute’ was black classical composer Joseph Bologne?

    We’ve got an amazing panel lined up for the show, including our host Jimmy Akingbola, the lovely Chizzy Akudolu and Eddie Kadi as team captains, and a whole heap of hilarious guests!

    Tickets are FREE!

    For more information and to reserve your ticket click on the link below.

    https://www.eventbrite.co.uk/e/triforce-productions-present-sorry-i-didnt-know-season-4-registration-660261529007

  • ‘Sorry, I Didn’t Know’ Greenlit For Season 4 By ITV & Shifted Beyond Black History Month

    From DEADLINE, by Max Goldbart – June 21, 2023 1:15am

    EXCLUSIVE: Jimmy Akingbola-hosted Sorry, I Didn’t Know, the UK’s first quiz show centered on Black history, has been recommissioned and shifted away from ITV’s Black History Month schedule.

    TriForce Productions’ panel show has run for three seasons during the October commemorative month in the UK but ITV is showing its commitment to the four-parter by moving it later in the Autumn.

    The fourth outing of the RTS-nominated entertainment format will likely air in November and this time will be series produced by BET Awards producer Jonte Richardson.

    In Sorry, I Didn’t Know, which is hosted by Peacock’s Bel-Air star Akingbola and filmed in front of a live audience, team captains Chizzy Akudolu and Eddie Kadi lead guests who answer questions about Black history. The show started life as an ITV 2 pilot in 2016 before being commissioned four years later as the UK TV industry experienced a reckoning amidst the Black Lives Matter protests. It attracts a few hundred thousand viewers per episode and has been greeted warmly by critics.

    The creators have previously praised ITV for taking a chance on the series when other networks turned it down and the recommission comes at a tricky time more generally for UK panel shows in the wake of Mock the Week and Late Night Mash (formerly The Mash Report) being culled.

    TriForce founder Fraser Ayres (In the Long Run) returns for Season 4 to lead a writing team featuring Viv May (Have I Got News For You) and Mark Boutros (8 Out of 10 Cats Does Countdown), while Aida Abdul-Raheem joins as trainee.

    “We’re very proud to be working with ITV to not only deliver authentically Black, yet commercial programming outside of Black History Month, but also to be creating unprecedented pathways for talent that directly address the lack of diversity in senior roles,” said Fraser Ayres, who is EP alongside Minnie Ayres and Akingbola.

    TriForce also made ITV’s critically-acclaimed documentary Handle with Care, which explored Akingbola’s experiences growing up in the British care system, with another in the strand currently being worked up.

  • Fraser Ayres on a TriForce to be reckoned with

    From C21 Media, Niko Franks. 17th March, 2023.

    TriForce Productions is taking a positive approach to projects made by diverse talent, tackling challenging subjects without turning them into clickbait, according to co-founder Fraser Ayres.

    Triforce’s Handle With Care: Jimmy Akingbola for UK broadcaster ITV

    UK-based TriForce worked across three productions spanning three different genres last year, namely documentary Handle With Care: Jimmy Akingbola for UK commercial broadcaster ITV; Dead Canny, a sitcom pilot for UKTV-owned Dave; and panel show Sorry, I Didn’t Know, also for ITV.

    Renewals are a key pillar of any development slate, but as co-founder Fraser Ayres points out, programming fronted by black talent is often less likely to return compared to other kinds of programming.

    That’s what made making a third season of Sorry, I Didn’t Know in 2022 so satisfying and Ayres is hopeful of a fourth run for the studio format, which celebrates black history and achievement.

    While a new home is being sought for Dead Canny, which follows a questionable young psychic who has the ability to see dead people, Handle With Care is being developed as a returning format with ITV, reveals Ayres, who as well as being CEO and co-founder of TriForce is also an actor, writer and showrunner.

    The show began with an episode focusing on Ayres’ fellow TriForce co-founder and actor Jimmy Akingbola, who as well as hosting Sorry, I Didn’t Know, can be seen playing Geoffrey Thompson in Bel-Air, Peacock’s gritty, modern-day reinterpretation of 90s sitcom The Fresh Prince of Bel-Air.

    The deeply personal film traces the journey of Akingbola, who, at the age of two, was uprooted from his Nigerian family and fostered by a white British family who raised him alongside their birth children.

    As the title suggests, Handle With Care aims to approach subjects such as foster care – which in other hands might be framed in a ‘clickbait-y’ way to draw in viewers – with consideration and show them in a more positive light.

    The result was a film that the press described as “raw” and “extremely moving,” with ITV now keen to develop the format into a strand of films that focus on the different lived experiences of well-known, diverse figures in a warm and positive way.

    “What our content shows is a shift from broadcasters in terms of the kind of content they’re commissioning, which is really positive. Previously, when those kinds of experiences are shown, it’s through the lens of oppression and often not made by the people from those demographics.

    “Actually, black people don’t really want to see those stories. They’re important, like Black History Month is important, but I’m tired of seeing people being whipped. I want to see our kings and queens and pioneers. Our success speaks to that shift,” says Ayres.

    Crucial to Ayres was that TriForce was allowed to produce these projects on its own, rather than being asked to coproduce with or have its hand held by a prodco with a longer credit list but an inevitably less diverse workforce.

    TriForce focuses on developing diversity and inclusivity (D&l) on- and off-camera and, via its not-for-profit arm TriForce Creative Network, is behind Dandi, described as the one-stop D&l support service for the entertainment industry that represents a database of more than 25,000 people.

    This means that as well as ensuring its productions are crewed by a diverse and inclusive workforce (“Our crew photos are quite different to other people’s crew photos,” says Ayres), the organisation is helping others – more than 70 production companies, broadcasters and global streamers – commit to the pledges made in recent years to make the UK media industry more representative.

    Shows Dandi has supported include Bridgerton, Gangs of London, I Hate Suzie, Killing Eve, Stath Lets Flats, Taskmaster and Trigger Point.

    Meanwhile, TriForce’s development slate was given a financial boost in late 2022 after TriForce was chosen as one of the prodcos to receive backing from UK commercially funded public service broadcaster Channel 4’s Emerging Indie Fund, which will see it receive a range of support and guidance to help supercharge its business.

    Programming that appeals internationally is a priority and Ayres says TriForce is in conversation with a US studio about factual and factual entertainment projects, as well as scripted.

    “I guess everything we do is quite worthy, in one way or another,” laughs Ayres. “That is our ethos and at our core. But we are unique in the way we find those interesting ways of presenting issues and stories.”