I started editing TV back in the late 90s, writes Director Anthony Willis. I always intended to become a director at some stage, but that took rather a long time to become my main work. I edited films for dozens of genres including live multi camera music shows, obs docs and TV commercials. I had (and hopefully still have) a great reputation as an editor.

Anthony Willis directing on the Connections set

My first proper regular directing job was in 2010. I worked for a year as a PD for a music TV prod co. Perhaps unwisely, I went back to editing in 2011, as I got offered the editing role on a feature film.

I wrote and directed my own short film, a sci-Fi drama called Escapement, in 2013 – 2014. I paid for the production myself, but it would not have been possible without an incredible amount of favours from tons of my friends and colleagues. Their generosity really gave me a boost, as after this the directing work became more regular.

Editor turned Director Anthony Willis

In 2018 I started working as a director with my chums at Bigger Bang. Over the last six years we’ve made tons of amazing films about science and history, which are huge interests of mine. I’m incredibly proud of the films we’ve made, like Emmy-nominated Secrets of the Solar System and Connections with James Burke.

I love making Science & History films and I hope to make many more. However, many production companies that make these kinds of films have really struggled over the last couple of years and are now chasing commissions in other genres, as there seems to be an unwillingness to commission Science & History right now.

As a consequence, I would like to be able to get jobs in other areas of TV…

I’ve had a lot of experience of changing disciplines and it makes me wince when I read job descriptions that are overly focussed on finding people who have already worked on similar films.

“Must have medical obs-doc experience…”

“True Crime experience essential…”

I would like to encourage those posting a new job to avoid insisting that the candidate must have already done the same thing. Should we carry on like this, our industry will become balkanised – with everyone trapped in their own genre silo!

Anthony Willis encourages TV hirers to be more bold with their choices

A good filmmaker can easily jump to a different genre and do a great job. After all, the processes really are pretty universal across all of TV production.

This last six months without much TV work has also made me think more clearly about what I want out of my career. I would like to find a more happy work / life balance from now on.  Maybe a bit more diversity of the kind of work I take.

As a result of all of this, I have started teaching for editing and animation for Soho Editors Training. I’m going to get involved in academia a bit as well – I’m due to teach two filmmaking classes for the university of Hertfordshire from January.

I think this diversification is a good thing and I’m really excited about the future, but I still want exciting new opportunities to make films, no matter what the genre!

To book Director Anthony Willis click here.

ScreenSkills is running a course for freelancers who want to diversify to keep their careers going: https://www.screenskills.com/bookings/embracing-industry-change-diversifying-to-future-proof-your-freelance-career/48eaa175-35c4-4144-a2df-b8f0c3d54e5d/

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One of my earliest forays into television was working on ‘Ladette to Lady’, writes Edit Producer Bohdan Kolesnik. But maybe not as you know it.

This show remains one of the most interesting reality shows I’ve ever worked on in the Ukraine. One of the characters had bipolar disorder, which manifested in two distinct behavioural models. On one hand, she was a typical teenager who had suffered from a lack of maternal love and attention during her childhood. On the other, she had delusions of being the prima ballerina of the Mariinsky Theatre, imagining her father as a policeman and a deputy of the Duma. She possessed a remarkable ability to humour and entertain those around her. There was an occasion when she refused to go on set and began to pack her suitcases, claiming she was heading off to Monaco. I have a fondness for comedy reality shows; they’re my favourite genre.

I worked on the Russian adaptation of the British TV show ‘Ladette to Lady’, known as Tomboys. Comedy reality shows are my favourite genre. Editing the show’s humorous content was a significant challenge – creating a compelling 9-minute scene from 10 hours of footage featuring 12 characters and interspersing 12 interviews — but one I accomplished with relish.

Bohdan Kolesnik Edit Producer https://www.mediaparents.co.uk/freelancers/18080/bohdan-kolesnik

My name is Bohdan, and I hail from Kyiv, I made the move to London in 2022. I made the strategic move to London, taking advantage of my student status which, at the time, allowed me to cross the border without being conscripted into the army.

Since 2018, I have been working as an Edit Producer for British formats on Ukrainian television and Russian reality TV shows, produced in Kyiv by local production companies. Currently, I am seeking opportunities in UK reality TV shows — a genre beloved by the Ukrainian audience, particularly for its UK formats.

Another project close to my heart was the Russian adaptation of ‘That’ll Teach ‘Em’ (Channel 4) . We placed ten troubled teenagers in a Soviet-style school where they spent ten weeks working to improve their behaviour and relationships with their parents. It was rewarding to work on a show that tackled socially critical issues and explored the parent-child dynamic. The stringent deadlines were the toughest aspect, requiring us to edit extensive material within tight time frames. Over the course of 14 weeks of cutting, we had to condense vast amounts of footage into a coherent timeline within very tight schedules, ultimately crafting episodes that were 1 hour and 10 minutes in length.

I am also continuing to work remotely on a Ukrainian reality show, an adaptation of the US reality show ‘Mum of the Week,’ which continues to enjoy high ratings in Ukraine.

I’ve edit produced smaller realities like ‘Goddess of Shopping’ and ‘Dating No Filter’ (an adaptation of the American reality ‘Dating #NoFilter’). I was also called on to assist a Polish production whose edit producer had fallen ill. Despite not speaking Polish, I took on the challenge. The task of editing in a language similar to Ukrainian, yet distinct, honed my skills in storytelling across linguistic boundaries.

Since the war began and I relocated to London, I’ve been sending my CV to various production companies, eager for an opportunity to work on UK TV. I’ve had no responses yet, but I’ve been improving my language skills and working in Liberty Shop (at Regent street) to stay afloat.

I’m determined not to give up. Through Media Parents and Facebook groups I am hopeful to be welcomed into a production team. I am open to any opportunity in post-production and am prepared to start in an entry-level position to gain experience.

Thank you for taking the time to read my story. https://www.mediaparents.co.uk/freelancers/18080/bohdan-kolesnik

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Entries for Grierson British Documentary Awards 2024 are now open! With 15 categories to enter, the Grierson Awards (brought to you by The Grierson Trust in association with All3Media) celebrate excellence across all documentary genres.

Documentaries and factual programmes that have been available to a UK audience with the first screening between 1 June 2023 – 31 May 2024 are eligible.

Enter by 31 May 2024: https://bit.ly/3v8TlMy

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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

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I love trees, writes PD and Edit Producer Lorraine Molloy. My love of trees took me on a 500 mile round trip from Cornwall to London last month. It was my first ever visit to the Royal Courts of Justice.

I was there supporting an amazing group of people from a campaign group called STRAW (Save The Trees of Armada Way). They had successfully called for a judicial review into Plymouth City’s Council handling of the felling of more than 100 trees in the city centre.  The felling took place back in March 2023 causing public outcry and it received national press coverage. My own personal reaction was to create a short film (https://vimeo.com/924892037) and I was fortunate enough to have it screened as part of Plymouth’s first ever Urban Tree Festival! I called on some good big hearted people who kindly gave their time and talents for free. My next step is to get it pitched….any ideas are very welcome. Media Parents has had a commission before I know – lightning can strike twice.

A year ago I was in a position to be able to create a film with no budget. But we all know how quiet it’s been over the last year and now though I really do need to earn some money – as much as I’m a huge believer of IMPACT OVER PROFIT!! Being a single mum to a 14 year old daughter, along with the juggle of self employment has made me even more tenacious, patient and tough (with a soft centre). I can deal with a teen so bring on the next challenge!

Over the last 20+ years I have producer credits ranging from Channel 4’s Location, location location to the BBC’s Great British Menu and Channel 5’s Hotel Inspector. I edit produced remotely on STV’s Great Auction Showdown in 2022 and more recently I have picked up location scouting work for film and commercials, and music videos. I’m based in Cornwall so it’s not surprising that the locations around me are frequently on screen.

Storytelling is my fascination and I love being involved in whatever form it takes. I’m open to work, shared roles, part time, full-time, adhoc and it doesn’t need to be in the south west, I’m very flexible. To contact Lorraine about the film or work go here: https://www.mediaparents.co.uk/freelancers/5872/lorraine-molloy

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. Next event at midday 28th March online. Mail us a CV for more details

Telemetry Media’s Matt Ralph in conversation with TV Switch Up about leaving TV for corporate work. Matt kindly got in touch to suggest sharing his experience with freelancers and to say thanks to Media Parents for helping him relaunch in TV when he returned to the UK from Australia. Our pleasure, thanks for paying it forward!

Matt Ralph from Telemetry Media

Matt’s creative career began in television production in the late 1990s. Since then, he has had the opportunity to develop, write, produce, shoot, direct and edit programmes and series, for international broadcasters, including the BBC and the Discovery Channel.

A founding member of the senior management team at the UK’s multi award-winning digital channel, BBC Three, Matt specialised in multi-platform content strategy working closely with social, marketing, production, development and channel scheduling teams to ensure maximum audience engagement.
Matt joined Anglo American in March 2020 from Brunswick Creative, where he worked on client accounts ranging from Nokia to HSBC. Matt lives in South-West London with his wife, two daughters and a Sprocker-poo called Monty, he is an Australian dual citizen and holds a First-class honours degree in Fine Art Sculpture.

How can I present my CV and skills? How can I get connected? Is it a one way street?

By TV Switch Up – A Telly Mums Group

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Sheffield’s iconic and longest running music venue, The Leadmill, was the location, writes Producer Jodie Chillery. It was a hot summers eve, I’d just watched Doc Fest’s screening of Joe Cocker: Mad Dog With Soul. Engaging in what I was sure was an important and career enhancing conversation with its director, my enthusiasm fuelled by Guinness and the heady excitement that doc fest induces, I thought; “If these guys can make successful feature docs, so maybe, one day can I!“ I even put this in a text and sent it to my series producer. Because of course, then, I was gainfully employed. We all were. He replied with equal enthusiasm telling me that indeed it is “a privilege to work in this industry, full of so much opportunity“. I don’t know what he’d been drinking!

https://www.mediaparents.co.uk/freelancers/4945/jodie-chillery Jodie Chillery working with Richard Hammond on his Workshop for Discovery+ 2022

Six years later in 2023, and the industry was on its knees in crisis, with writers’ strikes, actors’ strikes, commissioning and advertising freezes. We’ve been told to “hold our nerve” we’ve been assured it will “pick up by September”, yet BECTU confirmed 70% of respondents to an industry survey were still not in work. But most appallingly neither was I. In 20 years I’d only had 6 weeks out of work, unless for childbearing reasons or choice. May 2023 was my fifth consecutive unemployed month and that of my 40something birthday: enough to bring on a midlife crisis and mild depression. I did not feel much of that afore-mentioned privilege right then.

Finally, an opportunity arose, at a fledgling company I’d never heard of, for a project seemingly shrouded in mystery. I arranged to meet the exec. I arrived on my bike in the pouring rain. I dripped all over the very obviously new rug in their basement meeting room, and had to keep removing my glasses to wipe my persistent steam.  None of this was the look I was hoping for at my first job interview in months.

That mystery project, it turns out, is possibly the most career-enhancing film I’ve ever worked on, without doubt it’s been an incredible privilege, and a feature doc to boot!

Jodie Chillery, Producer on location for Cop Car Workshop, UKTV

I’ve gained a gaggle of new best friends aged between 7 and 15 all facing huge crises of their own. I’ve laughed and cried with them in equal measure, as they allowed us into their lives to share their most vulnerable, and most resilient moments. I’ve laughed and cried even harder with the crew at the end of long shoot days from hotel Beefeater bars in Fife, Scotland, to gun slinging saloon bars in Fort Worth, Texas.

It’s a cliche, but it’s been a journey. One I never imagined possible back in midlife-crisis-may. And perhaps that’s fate. However bad the hardship freelancers of the unscripted TV crisis face, nothing compares to my new “BFFs” who have been dealt a seriously shitty hand.

My band of cheeky contributors have in common a cruel experience of childhood cancer. A brutal disease that is alleged to be rare in children. But it’s on the increase, and the need for new research into kinder, age-appropriate treatments never greater. Only 2% of funds raised for research into cancer treatment goes on the cancers that attack children. This is horrific of course, but I can sense you’re thinking; “Who on earth would choose to watch a feature doc about kids with cancer?” Well, wait till you meet the kids. The narrative is led by them, and shot from their POV, this film is not what you might have come to expect from a cancer doc. (Is that even a genre?!)

It’s about children, about their experiences, and all the madness of life.

Yes there are some devastating scenes, but there are many more uplifting ones. As with any 7- or 15-year-old, there’s friends, school, annoying siblings, pets, parents and piano practice, and then unlike the rest, there’s cancer. There’s no end to their stories, the impact continues for everyone and that is the overarching point this film makes. Cancer never leaves, in-fact remission is perhaps just the start.

It’s a compelling and important watch. I would say that. As I’m plunged back into this ongoing uncertain TV jobs market, at least this time, I’m safe in the knowledge I did produce a successful feature doc, and it was indeed a privilege. However bad my midlife crisis, its child’splay compared to the adversity faced by these kids. If they can carry on with smile, then so can I.

Jodie was the Senior Producer and additional Director on this new feature doc which is due to be released this summer, when we will be able to share all the TX details, watch this space to find out more. To contact Jodie log in to Media Parents and click here: https://www.mediaparents.co.uk/freelancers/4945/jodie-chillery

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Emma Bellars https://www.mediaparents.co.uk/freelancers/17828/emma-bellars

freelancers finding it tough out there contact the Film + TV Charity for support here: https://filmtvcharity.org.uk/get-support/

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

Hi there! writes Producer Stephanie Carpanini. I’m a first time mum and long time Producer looking for a job share. I have worked in casting (C4’s Secret Life of the Safari), location and story (A&E’s Prison Brides), studio (BBC’s MasterChef), as well as commercial and branded content projects (Southampton FC’s 23/24 kit launch).

Producer Stephanie Carpanini is looking for a job share or part time work. https://www.mediaparents.co.uk/freelancers/17704/stephanie-carpanini

I’ve been in TV for over 13 years working across fact ent, obs docs and some reality. I would like to gain edit and welfare experience, and work on varied content jobs.

If anyone at a similar level with a similar CV would want to chat about a job share then please get in touch!

https://www.mediaparents.co.uk/freelancers/17704/stephanie-carpanini

I am looking to return to work in April/May either in a part time (3/4days a week) or job share capacity. Then build back up to full time, as my daughter settles into nursery. I am happy to do recces or location shoots in the UK, for short periods of time whilst my daughter is still young.

Producer Stephanie Carpanini is looking for a job share or part time work. https://www.mediaparents.co.uk/freelancers/17704/stephanie-carpanini

If anyone at a similar level with a similar CV would want to chat about a job share then please get in touch! Log in to Media Parents and click here for Steph’s contact details.

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