Saying no to Edgar Wright was one of the hardest things I’ve ever done, writes Offline Editor Nick Lear.

Editor Nick Lear training in Manenberg, Cape Town

I’d edited the making of documentary for Hot Fuzz and I was offered the same for Scott Pilgrim. I remember pacing around the South Bank on the phone to his producer trying to explain why instead of taking this opportunity of a lifetime, I was moving to Mozambique.

At that stage I’d worked extremely hard to get to where I was – a year and a half as a runner, a couple more years in the machine room, all the while spending every evening and weekend learning how to use the Avid. It was four years before I got a chance to sit in that magical editor’s seat and I was thrown in at the deep end – editing a 90 minute David Gray concert. But I was ready.

Cut to a few years later and I ended up at TVC Soho on Great Pulteney Street where I started with music videos and commercials and moved onto broadcast & documentaries, like Secret World Of Magic for Sky One, The Real Hustle pilot for BBC Three & Bethlehem: No Room for Peace for ITV.

Offline Editor Nick Lear writes about turning down Edgar Wright, and what next

But over the years, my faith/justice journey made me realise I needed to make a more direct impact on the world. I was newly married and we travelled on public transport all the way from London to Mozambique where we ended up running a feeding program that served over 2000 a day. We had a lovely staff of 40 to manage, but they didn’t speak a word of English – talk about transferable skills, I don’t think I had any!

Nick Lear with his first child in Mozambique

When we started a family there, my other half was at home for the first year and I did the second, so that she could run a microfinance program for low income women. After that we juggled childcare between us – not that we were working full 9-5 days, you really couldn’t in that heat.

Things got too much for us in the end, but instead of coming home, we started working and living in a township in Cape Town called Manenberg where there was a gang fight every other week and an incredible amount of disadvantage and pain still left from Apartheid. I started a small film school there with a really talented DoP called Freddie Reed, which is still running under local leadership.

Editor Nick Lear and wife Cate after arriving in Mozambique

Eventually I came back to editing as the one thing I know how to do to make a living. Working remotely, I tapped into the US market, with documentaries for Discovery+, The Olympics and recently a film exec produced by Hillary Clinton. I also had a stint back in the UK in 2022 when editors were scarce (remember that!) and I joined the agency TOVS and worked on things like Chateaux DIY and My Floating Home for Channel 4.

Now we’re moving permanently back to the UK – to Glasgow in a couple of weeks – and I’d love to cut meaningful documentaries as well as broadcast, whether on my home Avid suite or the great post houses there. Time for a new adventure!

https://www.mediaparents.co.uk/freelancers/18753/nick-lear

Our next event is online on April 1st, see blog post for more details and booking link. Scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

Diary of an out of work Production Manager 2025, by Michele Kimber aged 21+

January 2025

A new year and it seems some people are back to work (except me, oh and many many other freelancers).

After many cups of tea, went to computer and looked at jobs, except there wasn’t any.  Tidied flat. Looked at bank balance, nearly went back to bed again.

The days are fine but with nighttime arriving almost as soon as I’ve got up means that my motivation failed to get out of bed with me.

Cat happy that I stay in bed until he wants feeding which appears to be a lot.  He needs to get a job to pay for his food addiction, this appears to be non negotiable and I am the food provider.

The whole of January seems to be a repeat of the above.

Did not make it to Media Parents January Drinks. Must do better at Spring Drinks, Autumn ones were good.

Media Parents January Drinks in full swing. Join us for Spring Drinks on May 1st

February 2025

More PM jobs seem to be appearing, alas I no longer want or more importantly, am capable of going for long stints on location.

Found a couple of jobs that I thought I would be a perfect fit for.  Sent off my CV within minutes of jobs being advertised, refrained from putting “pick me, pick me” in my covering letter but just had to remember the advice that is given to young keen wannabe runners, send off your CV and forget about it.

Forgot the advice and kept checking emails.

The closing date for both jobs was Friday 14^th.  Monday 17^th at 9:07 exactly I got a rejection from one of the jobs saying that the job had already been filled.

Started looking at alternative careers.

I saw lots of people saying that people are needed in the NHS doing admin jobs etc, went online and started my research.  Saw what they were paying.

Started looking at jobs that were paying more but soon realised that even with some clever re-wording of my CV about my first aid courses I could never convince anyone that I was a qualified Nurse or above.

Got rejected from the 2^nd application.  On the plus side, at least they responded which I call a win. Cat still has a food addiction.

Tinx the Cat. Still unemployed.

March 2025

Started looking at “working from home sites” I could earn lots of dollars or even pounds if I pay up front, but decided that knowing my luck I would be rejected and paid to be rejected.

The weather was being kind so I did some gardening, slightly half heartedly, but it was nice not to be a slave to checking for jobs every hour (there seem to be lots more on Media Parents btw).

On Tuesday this week, I did my morning scroll of emails (well, on the hour, every hour) and suddenly I saw something I hadn’t seen for a long time.

AN EMAIL ASKING IF I WAS AVAILABLE!!!!!!!!!!!!!

Obviously I held back as best I could (15 minutes?)

By the afternoon, I’d been interviewed and got the job, it’s not a long contract, but it’s a JOB!

I started on Wednesday!!

The team are lovely, it’s going to be a graft with what needs to be done in a very short time, but am back on the bus and loving it!

Stay strong, jobs are coming in, they may not be the long contracts that people are used to, but they are coming in.

PS – cat update, he’s slightly cross his food consumption has been lessened by me not being at home pandering to his “I need food” wail,  he’s currently fast asleep on the bed. Belly fully, just not with as much as he was used to.

For those who know, Michele Kimber is in this shot somewhere. Meet her at Media Parents Spring Drinks

To contact Michele Kimber, who will be available in May, log in to Media Parents and click here.

https://www.mediaparents.co.uk/freelancers/18138/michele-kimber

Our next event is online on April 1st, see mailing list for more details. Scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

It’s been an intense couple of months looking for work. So I rejoined Media Parents to attend last week’s January networking event, and to apply for jobs. I’ve had work through Media Parents in the past, and been to their networking events before, so despite the state of the industry, I felt confident I would feel welcomed rather than competed with, and would enjoy myself. At the event we introduced ourselves by name and job title around the room and I found myself listing a long list of potential job titles to a round of applause.

We all introduced ourselves to the floor at Media Parents January networking. It's really helpful for everyone to know who's who

At Thursday’s event Amy explained that freelancers applying for roles through Media Parents will be in a group of up to 10 applicants. Many jobs are exclusive, but where they are listed elsewhere, employers say they look at Media Parents applicants first. How do they know? Application mails via the site are branded. Why do they like it? Media Parents is the only selective jobsite, requiring freelancers (not just restricted to parents) to have at least three years TV experience before joining. So much less sifting for hiring companies. From attending the event I can vouch that most people have much more experience than three years. So Media Parents is win, win for freelancers and hirers.

Media Parents Jan Drinks provided a great opportunity to meet or reconnect with companies like Strawberry Blond

I just want to say thank you so much for the networking evening and for the work that you do at Media Parents. I am so glad I made the journey. I am just reaching out to the people I met there. I’d say that I picked up contacts from 30% of the people in the room, including some employers I would love to work with.

I did some more stats for myself which I found interesting and really clear. I thought I would share them with you. I usually go from job to job without too much of a gap. Or have done for many years.

Researcher Hannah Bairsto, seen here with HOP Tina Lohmann, said it was the best networking event she had attended because it was friendly and relevant

Here are my stats as a freelancer of 23 years in two months of job searching, December 2024 to Jan 2025, prior to joining Media Parents:

****Job applications: 24 – for PD/SD across ob doc/fact ent/talent led genres.

Average number of applicants: 200 – 300 for every job (guestimate from the large numbers of applicants per job on the large jobsite I’ve previously been applying through + assuming they are not exclusive to that site).

Number of interviews – 3 (12.5 % hit rate)

Number of jobs got: 1 and it has been delayed until end of 2025.

***Number of speculative reach outs to talent managers / people I don’t know - 20

Number of emails back – 5

Expressions of interest for future work – 5

****Number of existing contacts with actual real work on the horizon who would earmark me – 1

*** number of my industry contacts who have called me saying do I want work? – 0

This element has been wiped out and was always there before. Although it formed 40% only of my work contracts.

For more info about Media Parents January Drinks scroll down this blog

Reason for these stats: My contacts are not in work, or have left the industry, or have many mouths to feed in terms of who they are hiring. I understand many jobs are not advertised (as backed up by yesterday’s Media Parents email and ring round) – but, I agree with Talented People’s Industry Health Check that broadcaster and streamer-approved candidates are going from one job to the next. If the same people are working on what is being commissioned then like any eco system it will start to fail or massively diminish and no longer flourish. Even the bits that are left.

Prognosis:  Doing what I did before is unlikely to find me work on the basis of these stats. Hence joining Media Parents to increase my reach and opportunities.

Actions:

• Apply for jobs on a platform with a great reputation / less competition
• Meet new people and build new relationships (watch out for Media Parents next event which will be online on Feb 19th)
• Write for this blog which has a reach on social and direct mail of 35K people in TV. I’ve made this post anonymous as I feel it’s a bit contentious, but I will be writing, I will

Our next event is on Feb 19th, see mailing list for more details. Scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

Writer Mel Melvin shares a piece from Doon Mackichan's Loch Rannoch writing and wild swimming retreat

UNWRITTEN

Blacken the pages
Take down the books from the shelves
Remove the pen from every scribe
Stand by the gravestone and utter not a word

I can’t write without you

I learnt to form my letters on your knee
I herded ink into squares
Only to delight you,
To lie down in the ‘C’ of your thin-lipped smile

I can’t write without you

At primary school I wrote a pearly sentence to hang around your neck and learnt how to disappear
into a book.

As a teenager, you drew out novels for me from your high shelves
Like an apothecary dispensing a vial of medicine
Heyer, Trollope, Mitford, Shreve

You could spot the past imperfect subjunctive from a mile off,
you taught me how to place an adjective and turn a phrase
You were my grammar,
My exclamation mark,
My full stop.

Finally I wrote my first novel and you kept it beside you during your final chapter,
At the hospice I read you Keats and left gaps for you to mouth the words – Alien corn.

I can’t write without you.

So let’s stand at the graveside,
may the inscription I ordered be my final words:

CICELY KNOWLES
1940-2023
BELOVED MATRIARCH

To join Mel’s Brighton Yoga retreat on Saturday December 7th click here.

Our next event is on Nov 6th, scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers go here: https://blog.mediaparents.co.uk

I’ve been a Production Manager for 24 years and one thing I enjoy most is nurturing my teams, writes Michele Kimber. Attending Media Parents Autumn Drinks has inspired me to blog for the first time about my career.

PM Michele Kimber, left, not wanted by Interpol at the Media Parents Autumn Drinks https://www.mediaparents.co.uk/freelancers/18138/michele-kimber

My job is not just making the budget and schedules work, it’s to ensure that everyone on the team know that they can talk to me regardless of the situation; being able to notice if someone is not happy, getting them to tell me why, and then finding a solution which is best for them and the team. It’s also making sure that you are on the same side as Editorial, so when they come up with a ‘must have’ item, it’s being able to say yes but then asking what they could do without. This ‘must have’ generally goes away!

Every time you think you’ve seen it all, something else happens that you really couldn’t have predicted.   During my 5 years working on Wife Swap (7 series back to back) we had a contributor who decided she wanted to go home before filming completed, the problem was she couldn’t decide whether she wanted to fly back North or go by train; as it was a Bank Holiday, this was causing considerable problems. Whilst she was changing her mind for the umpteenth time she managed to run away from the team into a swanky London hotel and straight into a wedding party having photos taken in the lobby; she then passed a note to a very bemused window cleaner saying she had been kidnapped by Channel 4.  That took some unpicking!

On Made in Chelsea (series 4 BAFTA award winning!)  we were filming a Christmas special in a country house and we had a very specific get out time, otherwise we were going to be heavily fined.  MIC was notorious for not adhering to timings so my job was even more stressful on that day.    I managed to get everyone out with 5 minutes to spare, when the house-keeper announced that the men’s toilet was blocked and I needed to deal with it.  With nothing to use other than my bare hands, the toilet was cleared but I was unable to wash my hand as I had to leave, only to see about ten cleaners standing at the door waiting to come in. My journey home was spent with my hand out of the car window, arriving back home at 3 in the morning.  I laughed about it eventually.

At Blast! Films, the one genre I said I would not be happy with was animals, especially if they were injured.  How they laughed, saying I’d just finished 26 episodes of 999: What’s Your Emergency?  During the first series of The Supervet onlines, I made the Online Editor turn the surgeries into black and white; by the second series I was much more comfortable with the formerly distressing material.  I went on to do not one, but three series of The Supervet!

I’m extremely adaptable and, after experience with shows like 999 and Forensics: The Real CSI (and Wife Swap) I am across all compliance and legal too. I am not good at having my photo taken (I’m afraid to say that I generally end up looking like I’m wanted by Interpol in 26 countries) so here is a picture of my trusty calculator which is currently showing my job situation…

Finally, not working, I miss not being able to tell my team that I’m going to join the Foreign Legion if things get a bit sticky.  The last time I said it, a coordinator asked me if they were a girl band he’d never heard of.  Said coordinator is now a very successful Series Producer!

To contact Michele Kimber, log in to Media Parents and click here.

https://www.mediaparents.co.uk/freelancers/18138/michele-kimber

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. Our next event is a hello to new members followed by Jo Woolf's Edit Producing tips - scroll down the blog for more details

Returning to TV as a Producer/Director after my second break in 25 years seems like a bold move when 60% of the industry is still out of work writes Edit Producer Heidi Perry. I’ve tried to reinvent myself as a charity communications manager and PR a few times but I always find I’m longing to do what I do best; collaborating with contributors and finding the gold in hours of rushes to tell a powerful story. Unscripted TV of any kind – I actually love it all – is in my DNA. On a shoot or in the edit, everything makes sense. And I know that the more experience I have of life and of other kinds of work, the more I become a better Producer/Director or Edit Producer. To this end I attended Media Parents Autumn Drinks and had a surprisingly great time, meeting some great hirers and freelancers.

Heidi Perry, centre, was on great form at Media Parents Autumn D. Pictured here with ClearCut MD Rowan Bray, hosting

While travelling with my family last year, I made 5 episodes of Shamba Shape-Up, a popular farm makeover show that goes out to 8 million viewers across East Africa. Filming with a Kenyan crew was an incredible experience and made me want to go back to TV more than ever. So I’m jumping back in! So far I’ve had some feature doc development work with Blackbox Multimedia and I’m putting feelers out for edit producing or directing. The commissioning landscape has changed considerably since I last left, but adaptability is a superpower possessed by anyone working in TV, and I have it in spades. I also have a passion for TV that I can’t shake and valuable experience I know I can put to great use.

Heidi Perry on location in Kenya

The first time I left TV, after a trip to Cameroon undercover filming Crime Scene Wild for Animal Planet, it was because on my return, my two-year old daughter Nina gave me one look and strolled nonchalantly away. It was clearly time to stop going away all the time and luckily, alternatives came along: the first at Immediate Films directing charity fundraising films that would raise £1 million at high-profile events. The second was making films for the Ministry of Justice about the issues faced by vulnerable women in the criminal justice system. Making films with a purpose honed my storytelling fast and I learnt how to impact an audience in different ways.

Heidi Perry shooting in the Cameroon for Animal Planet

When my daughter was older, I tried TV again. I’d missed the camaraderie and collaboration of team-working across a series. I did some development in BBC Specialist Factual, a Hairy Bikers’ food history series, an Antiques Roadshow spin-off obs doc, a few series of Bargain Hunt. Then I fell in love with fixed rig filming as a P/D on One Born Every Minute and The Hotel for C4.

Although bouts of edit producing made TV more compatible with parenting, when my relationship ended, I struggled as a single mum on freelance contracts. So I took an offer of a secure job in a national children’s charity. People asked if I missed TV and I’d call to mind squeezed budgets and crazy hours, trying to convince myself and them that I didn’t, but in truth I missed it unbearably. Now it feels wrong not to be doing what I love so much. So here goes again…fingers crossed!

A Storyteller’s Journey Through Uncharted Waters

Before the industry’s recent turbulence, I was no stranger to navigating uncertain waters, writes Producer Donna Harry. With a passion for adventure, I often found solace in travelling to exotic locales during short bouts of downtime. These experiences not only broadened my horizons but also instilled in me a resilience that proved invaluable during times of professional uncertainty. However, as the industry landscape shifted and I faced the reality of unemployment, I found myself grappling with basic needs rather than the pursuit of adventure. Without a partner or parents there is no safety net and it’s scary to think  my career could be over before I’ve really achieved my ambitions.

Donna Harry, 4th from left on ScreenSkills' Edit Producer for Future SPs Scheme

When the tides turned and industry prospects dimmed, I doubled down on my craft. Through ScreenSkills’ Edit Producer for Future SPs scheme led by Jo Woolf, I’ve secured a work shadowing placement on The Apprentice. Lecturing at the National Film and Television School fueled my passion for nurturing the next generation. These endeavours kept me positive and focused on the long game – because even in the darkest moments, I trust brighter days are ahead.

But let’s be real – even in the darkest moments, hope can feel like a distant beacon. So, I embraced a Plan B – a 3-month marketing bootcamp to potentially pivot if the landscape remains uncertain. After all, versatility is key, and these new skills will only add another string to my bow.  However, pursuing this pivot comes at an emotional cost – potentially sidelining a hard-fought career I’ve poured my soul into.

Nothing has come easy on my journey. As a woman of colour from working-class roots, the odds felt perpetually stacked. Yet I’ve consistently risen above setbacks through sheer grit and an unwavering vision, carving out a space to work on programmes I’m truly proud of. Walking away from that hard-won path to start anew is a daunting prospect. But I’ve never shied away from a challenge.

https://www.mediaparents.co.uk/freelancers/4855/donna-harry

Amidst chaos, my passion for authentic storytelling remained constant. Grounded in 15+ years uplifting diverse narratives, I’ve embraced multifaceted roles – producer, casting producer, welfare producer, editor producer – whatever the project required to bring incredible human experiences to the forefront. Whether unearthing extraordinary tales for the BAFTA-winning McCullin, discovering imaginative artists on The Great Big Tiny Design Challenge, giving a voice to disparate realities on Rich House Poor House, or forward planning on brand new build format Stacey Solomon’s Renovation Rescue,  my mission has been uncovering the extraordinary in the ordinary.

As a welfare producer, creating an ethical space where people feel safe and empowered to share their truths is paramount. On the casting side, I have a knack for identifying singular talent and pitching them in a way that lets their authenticity shine through nuanced protocols and evocative tapes. Securing institutional access is also key.

As a producer my versatility spans a range of genres – from the high-wire logistics of Stacey’s renovation series to uplifting character-driven narratives like The Farmers’ Country Showdown through edit producing.

I’m ready to chart a course through these turbulent waters. Brighter days may be on the horizon, but until then, I’ll navigate with resilience and creativity, determined to leave my mark as an enduring storyteller.

https://www.mediaparents.co.uk/freelancers/4855/donna-harry

In an ideal world my dream scenario is for my TV career to keep evolving. Over the next few years, I’d love to really hone my storytelling skills by spending some dedicated time Edit producing. Bringing  character-driven narratives to life – that’s the kind of work that truly fulfils me. And  if I can avoid getting pigeonholed along the way, even better! Branching out into fresh formats like renovation shows, food programs, maybe even dipping into true crime…that freelancer versatility would be amazing for satisfying all my creative cravings.

But at the end of the day, what really drives me is that bigger picture goal of eventually levelling up to Series producing, nurturing the next generation of diverse filmmaking voices. Guiding them to craft their authentic perspectives and visions…that’s the dream.

Donna Harry is currently in work through Media Parents! Woohoo!

https://www.mediaparents.co.uk/freelancers/4855/donna-harry

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. We offer free CV advice for subscribers

I’m a Creative Producer Director, writes Dave Baker, with 14 years’ experience in factual,  (The One Show, A Place in the Sun, Watchdog). I’ve worked in factual entertainment (Strictly, Come Dine with Me, Cash in the Attic), sport (MOTD, the Paralympics – I came into TV via BBC Sport), children’s, cookery (I had a previous career as a chef), corporate and online promotional films. I’ve diversified to get work!

Dave Baker is available now https://www.mediaparents.co.uk/freelancers/12141/dave-baker

At the moment, like most of the freelance TV workforce, I’ve kind of had it with television. Whilst I don’t want to give the impression I’m hard work, or hard to work with, I feel let down by the broadcasters’ approach to this go-slow, it’s apparent that they haven’t supported the freelancers they usually can’t survive without. Where’s the reassurance? The outreach? The suggestion of any kind of plan? Is it any wonder that TV Mindset is overflowing with freelancers at this stage of the game, to the point that they are broadcasting video messages from beleaguered freelancers? (I mean something stronger than beleaguered).

I’m currently looking for work in TV or out of TV, because whilst I’m experienced, my family can’t survive on nothing. I’m a confident and effective self-shooter on FS6, and I direct crew and talent.  I live outside the M25. I have substantial edit time (Watchdog, The One Show) and the ability to write tight and engaging scripts. (See?)

Dave Baker shoots, directs, edit produces and much more

I’ve updated my CV with invaluable advice from Media Parents Director Amy Walker but despite that it’s not yet secured me work. In addition to self-shooting, directing and edit producing, I’m also an effective contributor finder and casting producer. And I have fast turn-around edit and international shoot experience. What’s a freelancer got to do to get a gig these days?

To contact Dave Baker, log into Media Parents and click here. Dave is available now.

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. We offer free CV advice for subscribers

When Offline Editor Daren Tiley hadn’t worked in a while, he chucked Easter under a bus and worked through it on a fast turnaround doc – in fact two in a row. So was it worth it?

Offline Editor Daren Tiley working on C5's fast turnaround doc Kate and the King https://www.mediaparents.co.uk/freelancers/9614/daren-tiley

I’ve worked on two fast turnaround docs commissioned by Federico Ruiz at channel 5 in the last month for Mentorn Media part of the Tinopolis group, writes Daren Tiley. “Wonka: The Scandal that Rocked Britain” and “Kate & The King: A Special Relationship”.

Both productions worked on an unusual fast turnaround of 11 days from production start to channel delivery with TX on Saturday night primetime viewing. So 12 days to TX for a 45 min Channel5 hour.

Production starts on a Tuesday, with interviews shot on Wednesday, Thursday, Friday and some at the weekend. Staggered edits start Friday to Wednesday through the weekend at MSV post in Hammersmith, with 5 editors and EPs working for 5 days to get to picture lock by end of day Wednesday. Each editor takes on a part each with the 5th editor cutting pre titles and any extra bits and bobs. I cut part 4 on both Wonka & Kate myself.

Then voiceover, dub, grade and online all on the same day for channel delivery on the Friday lunchtime for Saturday primetime TX. Phew!

Daren Tiley right and the fast turnaround production team at Mentorn Media

A great team of experienced editors and edit producers worked between 10 & 12 hours a day to make the shows. The calm and collected nature of SP Stuart Strickson on both productions meant a pleasant working experience. Tayte Simpson Execed Wonka and Nicolai Gentchev on Kate also perpetuated the calm.  When working at such speed for delivery you need a great unflappable team behind you.

These fast turnarounds are becoming more popular with Channel 5 commissioners these days and although I don’t think it’s great to see 11-day turnarounds as the norm, it is getting us telly folk back to work on some commissions at least. And the viewers are over all liking the speed of reacting to a breaking news story! Wonka pulled in an audience of 800k, peaking at nearly a million, and was the most watched programme of the day, as was Kate & The King.

Having had no work for the last 6 months it was nice to get five days on Wonka and four  days on Kate. To be back as a team all working together was helpful for my mental health as the last year or so has been and continues to be so hard for so many of us in the TV world! The pace and last-minute nature of this work isn’t sustainable on a single, TV income, so whilst I am grateful for it, I hope it’s replaced by programming that’s scheduled further in advance.

Daren Tiley is available for offline editing work either remotely or from London post houses. https://www.mediaparents.co.uk/freelancers/9614/daren-tiley

www.dtediting.com

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media.