LEARNING OUTCOMES.

EVALUATION. 

WELCOME TO MY FINAL WEB BLOG, IN THIS BLOG I HAVE TO EVALUATE MY WHOLE PERFORMANCE THROUGHOUT THIS 1ST SEMESTER.

EVALUATE MEANS = TO JUDGE OR ASSESS THE QUALITY, MERIT, SIGNIFICANCE, WORTH IMPORTANCE OR VALUE OF SOMETHING.

ANALYZE MEANS= TO STUDY SOMETHING IN DETAIL TO DISCOVER MORE ABOUT IT OR EXAMINE CRITICALLY TO BRING/FIND OUT ITS ESSENTIAL ELEMENTS.

IN THIS EVALUATION I HAVE BEEN ASKED TO CRITICALLY EXAMINE MY OWN WORK AND STATE WHAT IS GOOD AND BAD ABOUT IT - COMMENTING ON EACH OF THE FOLLOWING: 

*    TEACHER/PEER FEEDBACK.

*    GROUP WORK.

*    TECHNICAL QUALITY.

TEACHER / PEER FEEDBACK:         I FEEL I HAVE LEARNED ALOT FROM THIS UNIT, BUILDING ON THE FOUNDATION I HAD FROM LAST YEARS  BTEC NATIONAL DIPLOMA IN MEDIA MOVING IMAGE. I HAVE GAINED A MORE IN DEPTH KNOWLEDGE OF JOB ROLES WITHIN THE MEDIA INDUSTRY AND I HAVE A CLEARER IDEA OF MY FUTURE CAREER PATH. 

KIM HAS ALOT OF INVALUABLE KNOWLEDGE WHICH IS VERY HELPFUL, AS SHE KNOWS WHAT SHE IS TALKING ABOUT, AND HAS NO PROBLEM WITH EXPLAINING THINGS MORE THAN ONCE. WHICH FOR ME IS USEFUL AS I HAVE A VERY BAD SHORT TERM MEMORY.

FROM THIS UNIT AND THE FEEDBACK I HAVE RECEIVED FROM KIM, I NOW KNOW WHERE MY WEAKNESSES LIE FOR INSTANCE IN SOUND EDITING, KIM & GILL HAVE BOTH SHOWN ME HOW TO IMPROVE  UPON THESE SKILLS NEXT TIME. 

I.E. BY ASKING IF I DONT KNOW HOW TO DO SOMETHING & BY GETTING MORE PRACTICE IN WITH SOUND EDITING SOFTWARE. 

I BELIEVE AND FEEL THAT ONE OF MY STRENGTHS IS ORGANIZATION. ALWAYS HANDING MY WORK IN ON TIME, SOMETIMES WITH TIME TO SPARE TO IMPROVE MY FINAL GRADE.

GROUP WORK:           IN KIMS LESSONS MUCH OF OUR CLASS WORK HAS BEEN INDIVIDUAL TASKS, FOR INSTANCE OUR WEB BLOG. ALTHOUGH WE DID PRODUCE A RADIO SHOW IN GILLS LESSONS, AS YOU CAN SEE FROM MY PREVIOUS BLOG, OUR GROUP PROJECT DID NOT GO VERY WELL . PERSONALLY I BELIEVE NEXT TIME I ENTER A GROUP PROJECT, I SHALL TRY TO BE LESS RESERVED. WHICH I THINK WILL HELP A GROUP PROJECT WORK BETTER. ALTHOUGH I DO BELIEVE MY STRENGTHS OF RESEARCHING AND SCRIPT WRITING DID SHINE OUT  IN OUR GROUP PROJECT.

TECHNICAL SKILLS.           CONSIDERING I HAD NEVER DONE ANY VIDEO OR SOUND EDITING BEFORE BOTH GILL AND KIM HAVE TAUGHT ME SOME VERY VALUABLE FOUNDATION SKILLS IN SOUND AND VIDEIO EDITING. I AM ALSO CONFIDENT NOW IN USING THESE SKILLS WHICH AT FIRST I WAS AFRAID OF. I BELIEVE I CAN ALWAYS IMPROVE UPON MY EDITING SKILLS, ALTHOUGH I THINK MY MAIN GOAL IN EDITING WILL BE TO GET MORE CONFIDENT WITH THE SOFTWARE.

CONCERNS FOR NEXT SEMESTER.          I WOULD SAY ONE OF MY MAIN CONCERNS FOR NEXT SEMESTER, ALTHOUGH I AM QUITE WELL EQUIPPED WITH MY OWN MAC LAPTOP, FINAL CUT PRO SOFTWARE, AND 250 GIG EXTERNAL HARD DRIVE, IS THE FACT THAT THERE DOES NOT SEEM TO BE ENOUGH HARDWARE TO GO AROUND. WHICH I FEEL MAY IMPACT UPON OUR LEARNING OUTCOMES NEXT SEMESTER.

THANK YOU FOR READING MY WEB BLOG, I HOPE YOU FOUND IT INTERESTING. I AM NOW OFF TO SRI LANKA TO STAY IN THE JUNGLE WITH A SCHOOL TEACHER FOR A 2 WEEKS, I FLY OUT OF HEATHROW AIRPORT IN 6 HOURS TIME. WISH ME LUCK! A WONDERFUL LIFE EXPERIENCE, WHICH I HOPE TO INCORPORATE INTO MY WORK NEXT SEMESTER.

INTERVIEWS.

During the Module BC1003 (Audio Project) with Gill Sargent. we looked at interview techniques. From these lessons we learnt how to interview effectively, understanding the difference between open and closed question.

For Example:

-  WHO            Ask for FACT               E.g. A persons name.

(closed question)

-  WHEN         Asks for FACT             E.g. A time.

(open question)

-  WHERE        Asks for FACT            E.g. A place.

(open)

-  WHAT          Asks for FACT  or INTERPRETATION of FACT     E.g. A sequence of events.

(open question)

-  HOW              Asks for FACT or INTERPRETATION of FACT     E.g. A sequence of events.

(open question)

-  WHICH         Asks for a CHOICE.       E.g. A choice from a range of options.

(open question)

-  WHY              Asks for OPINION.        E.g. A reason for a course of action.

(open question)

From these skills learned in Gills lesson i was then able to apply these Open & closed quetsions to the questions i asked to our guest speakers in Kim Brooke's lessons.

Below is the questions I asked our guest speakers.

Interview 1.  Kim Brooke  Freelance director.

Question:  What initially interested you in having a job within the media industry?

Interview 2.   Tom Chumley  Freelance Director.

Question 1:   What is it like to be a director?

Question 2:  What personal qualities & attributes do you personally feel you need to have to be a director?

I believe from my understanding acquired from gills Lessons of open and closed questions. I received very good and effective answers, because i asked open questions which enabled the interviewee to give a fact and a personal interpretation, which made the interview more personal. 

THE PITCH / RADIO SHOW CRITIQUE

 BELOW IS A COPY OF MY REFLECTIVE AUDIO DIARY SCRIPT.

Introduction.

                     Hi my name is Kate Pritchard. This is my reflective audio diary. 

TEAM WORKING:            THE DICTIONARY MEANING. Defines team work as :

“work done by a group of people who work together to achieve a common task or goal.”

AS A GROUP WE INITIALLY WORKED WELL TOGETHER.  SUBSEQUENTLY THE COHESION OF THE GROUP BROKE DOWN AND THE INPUT OF MEMBERS IN THE GROUP BECAME NARROWED. IN MY OPINION ,   THE CONTENT OF THE SHOW LACKED BREADTH AND INTEREST. OUR MAIN PROBLEM WAS BAD COMMUNICATION. WE WORKED WELL ON OUR OWN ASSIGNED TASKS, BUT WHEN WE CAME TOGETHER TO DISCUSS OUR JOINT WORK, WE DID NOT WORK IN A COLLABORATIVE MANNER. 

RESEARCH:        AS A GROUP I FEEL OUR RESEARCH SKILLS WERE VERY STRONG, THIS IS REFLECTED NOT ONLY IN OUR PITCH BUT ALSO IN THE RADIO ITSELF. EACH OF US TAKING ON INDIVIDUAL RESEARCH TASKS, KEELY RESEARCHING INSOMNIA ITSELF, INTERVIEWING A NURSE AND A DOCTOR. SIMON TOOK THE ROLE OF SOUND RESEARCHER AND EDITOR. MYSELF TOOK THE ROLE OF RESEARCHING THE BUGET, TO MAKE OUR PITCH AS LIFE LIKE AS POSSIBLE. I COSTED VARIOUS JOB ROLES / TITLES WITHIN THE MEDIA INDUSTRY & QUOTED HOW MUCH WE WOULD HAVE TO PAY THESE PEOPLE FOR A DAYS HIRE / PAY. IN THE RADIO SHOW ITSELF IT WAS MY JOB TO RESEARCH ANIMAL INSOMNIA, AS THIS WAS A MATTER BROUGHT UP FROM OUR PITCH. 

SCRIPT WRITING SCRIPT:                        ANOTHER OF OUR STRONGER ASSETS WAS OUR SCRIPT WRITING. WITH KEELY AND MYSELF BOTH KEEN SCRIPT WRITERS. WE BETWEEN US WROTE THE INTRO, WITH SIMONS INPUT WE SCRIPTED THE FIRST PARAGRAPH WITH THE IDEA OF RADIO 1’S FRIENDLY BANTER. SIMON THEN DID SOME CLEVER EDITING LINKING US WITH GOOD LINKS, KEEPING IT STRONG.  IT WAS DECIDED TO KEEP THE ANIMAL STORIES SHORT FOR REASONS OF PACE,            WHICH WAS A DECISION.  I BELIEVE I ROUNDED THE WHOLE SHOW OFF WITH A WELL SCRIPTED FINALE CONCLUDING ALL THE POINTS MADE WITHIN THE SHOW, WHEN STATING INSOMNIA WAS NOT GOING TO GO AWAY ANY TIME SOON.

 

ON A MORE PERSONAL NOTE I WAS ABLE TO PRACTICE MY SCIPT WRITING IN CLASS BY PRODUCING THE LEAVING HOME SCRIPTS & THE BURMA SCRIPT.        

Editor / EDITING          HAVING HAD NO EXPERIENCE OF SOUND EDITING BEFORE, THE THOUGHT OF EDITING PIECES TOGETHER WAS A DAUNTING PROSPECT. BUT WITH SIMONS HELP AND TUITION I MANAGED TO EDIT THE VOX POP “IN YOUR OPINION WHAT IS INSOMNIA?”

SNIPPET OF THE VOX POP.

IN EDITING THIS VOX POP I HAVE LEARNED THAT EDITING SIMPLE THINGS SUCH AS THESE DOESN’T HAVE TO BE TOO CHALLENGING OR TECHNICAL, YOU CAN EDIT TO A HIGH QUALITY USING VERY EASY AND SIMPLE TECHNIQUES AS CROSS FADES.

Interviewer / Interviewing. 

BEING SHY AND NOT VERY OUTSPOKEN, I WAS DISINCLINED TO GOING TO COMPLETE STRANGER AND ORGANISING AN INTERVIEW, ALTHOUGH I FOUND ONCE OVER THE INITIAL HERDAL OF ASKING FOR THE INTERVIEW. EVERYTHING ELSE INCLUDING THE INTERVIEW IT SELF WENT VERY WELL.

 

PLAY VETS ORIGINAL INTERVIEW.

 

THE VET’S INTERVIEW MATERIAL WAS MISREPRESENTED BECAUSE THE VET COULD NOT COMMENT ON A CASE OF ANIMAL INSOMNIA, BECAUSE SHE HAD NEVER SEEN A CASE OF IT.  IN THE EDITING SUITE THE INTERVIEW WAS CUT USING ANSWERS FROM OTHER QUESTIONS TO GIVE THE IMPRESSION THAT ANIMAL INSOMNIA WAS COMMON. OTHER INTERESTING MATERIAL ON THE SUBJECT OF SLEEP DISFUNCTION WAS PASSED OVER

 

PLAY SIMON & KEELYS VERSION OF INTERVIEW.

 

TECHNICALLY THE INTERVIEW WAS WELL ACCOMPLISHED, ALTHOUGH THEIR WAS SOME DISTORTION ON THE SECOND QUESTION, DUE TO THE POP SHEILD MOVING.

 

I FEEL IN CLASS OUR PRACTICAL SEESIONS WITH GILL REALLY HELPED, ESPECIALLY THE EMOTIVE HIV INTERVIEW IN WHICH ADAM INTERVIEWS ME A HIV AIDS SUFFER.

TIME MANAGEMENT.

 

Managing My own time

I BELIEVE THROUGHOUT THIS PRODUCTION I WORKED WITHIN THE TIME CONSTRAINTS CONSTRUCTIVELY EVEN THOUGH THE OTHER MEMBERS OF THE TEAM CONDUCTED ATTRIBUTION OF WORK AT 3:30 IN THE MORNING BY PHONE, UNPROFESSIONAL CONDUCT REVEALING A VESTED INTEREST IN THE SUBJECT MATTER .  I HAVE CONTRIBUTED IDEAS, RESEARCH OF ANIMAL INSOMNIA AND ORGANISED INTERVIEWS WITH VETS.

 

 

Time Management Within the group.

SADLY TIME MANAGEMENT WITHIN THE GROUP WAS LACKING, NOT LEAVE SUFFICIENT TIME FOR SEVERAL EDITS OF THE FINAL SHOW, INEVITABLY OUR FINAL PRODUCT SHOWS THIS.

IN CONCLUSION:

 

CLEARLY TO WORK AS A TEAM REQUIRES ONE TO PUT ASIDE ONES PERSONAL ISSUES AND PERSONAL INTERESTED FOR THE BENEFIT OF THE PRODUCT. SADLY THIS WAS NOT THE CASE AS INTROSPECTION AND EGO HAS BEEN REFLECTED IN THE SHOW’S OUTPUT. 

HEALTH AND SAFETY WITHIN THE BBC

Below are some of the Job titles and health and safety obligations we looked at in class.

FREELANCERS.

The BBC relies a great deal on freelancers in program making. This topic gives advice to managers, including producers, on health and safety  issues to address in selecting and managing freelancers. The health and safety essential are:

*  CONTROL

*  CO-OPERATION.

*  COMPETENCE.

The safety issues are important because the freelancers may be unfamiliar with the BBC's health and safety arrangements and requirements. freelancers may also be in charge of work activities, working alongside, or even in control of, our staff, so its vital that they are competent. 

VETTED CONTRACTORS.

This guidance is applicable for productions wishing to add contractors to the BBC's vetted list. The term contractor embraces all those companies and sole traders (freelance workers) providing a service for  BBC productions.

BBC procurements aim is to have a system in place that leads to the selection of monitoring of contractors, who have appropriate standards of occupational risk management which includes health, safety, fire, security and environmental management. The approach which has been adopted is RISK BASED.

Establishing the competence of a contractor with respect to the management of occupational risk is an integral part of procurement process. How detailed the assessment will be, will depend on the type of goods or services the contractor will be providing and the level of associated risk.

INDEPENDENTS AND INDEPENDENT PRODUCTIONS.

The BBC must ensure that all independent production companies they commission have had their health and safety arrangements vetted,  (are safety competent) and provide, and are provided with the information in order to complete work on our behalf.

This guidance outlines the BBC's health and safety vetting procedures for independents. It must be understood and followed by all of those involved in the commissioning process across the BBC in london this is the commissioners and business affairs managers, in the nations and regions it also includes commissioning editors, executive producers, and business executives. Most of the actions will need to be carried out by the business affairs mangers or their equivalent in the nations and regions.

CHILDREN, YOUNG PERSONS & WORK EXPERIENCE.

These guidelines are aimed at those involving children in programmme making as actors , participants, and audience. Where a child is involved in our work the risk assessment for the activity must take account of their particular health, safety, & welfare requirements.

For the times when children visit us at open days and for tours use the principles set out for supervising groups. 

Children must be regarded as at particular risk. They are often curious, have a limited sense of danger and can react in different ways in an emergency. we can never assume that a place which is safe for an adult will be safe for a child.

EVENTS.

All types of events the BBC is involved in as organizers, host broadcasters, rights holding broadcasters or simply covering someone else's event. Advice on planning and managing all event safety issues from early conceptual planning stage through to location recces and event responsibilities to post event wash up.

LINK:

WWW.BBC.ORG.UK/OHSS/MAIN.ASPPAGE4561.HTM

HEALTH AND SAFETY.

Below is a summarization of the "Health & Safety at Work Act (1974)" This is a legislation written and produced by the government.

Before 1974 approximately 8 million employees had no legal sfety protection at work.

Everyone has a duty to comply with health and safety. including employers, employees, trainees, self employed, freelancers, manufactures, supplies, designers, & importers of work equipment.

EMPLOYERS RESPONSIBILITY.

The act places general duty to "ensure so far as is reasonably practical the health, safety, and welfare at work of all its employees."

The act states employers MUST:

*  Provide and maintain safety equipment and safe systems of work.

*  Ensure materials used are properly stored, handled, used and transported.

*  Provide Information, training, instruction, and supervision. Ensure staff are aware of                   instructions provided by manufactures and suppliers of equipment.

*  Provide a safe place of employment.

*  Provide a safe working environment.

*  Look after health and safety of others E.G. The general public.

*  Talk to safety representatives.

EMPLOYEES RESPONSIBILITIES.

Employees have specific responsibilities too.

THEY MUST:

*  Take care of their own health and safety and that of other persons. REMEMBER Employees maybe LIABLE! 

*  Co-operate with their employers.

*  Must not interfere with anything provided in the interest of health and safety.

LINK:  

WWW.RBKC.GOV.UK/ENVIRONMENTSERVICES/HEALTHANDSAFETY/HS_1974ACT.ASP6

HEALTH & SAFETY (RISK ASSESMENTS)

Every company is under a statutory duty to carry out an assessment of risks present in its workplace. If your company employs five people or more, the risk assessment must be in writing. Legislation requires that the assessment be carried out by a "competent person" and examine the entire company’s activities to identify any hazards involved, the likelihood of those hazards causing harm and the steps required to eliminate or minimise the risks. The risk assessment should be reviewed periodically and whenever there are significant changes in the workplace.

"HEALTH & SAFETY ACT"

HEALTH & SAFETY IS VERY IMPORTANT! BELOW IS A COPY OF ONE OF MY RISK ASSESSMENTS.

It is contains:

* The Activity to be done.
* The Activity Location.

* The Assessor. (Names & Signatures)
* Date.
* Review Date.
* Approved by. (i.e. Joe Bloggs - Producer)

* Sheet Number (i.e. Page 1 of 2 etc)

* Guidance Notes:

 Consequence x Likeihood = Risk Total.

For example CONSEQUENCE 4 (HIGH) X LIKEIHOOD 4 (HIGH) = RISK 16 (HIGH)

* Hazard.
* Risk.

* Hazard Effect.

* Likeihood.
* Consequence.
* Controls.
* Precautions.
* Conclusions + Recommendations.

* TOTAL RISK!

WHAT IS OFCOM?

OFCOM, THE OFFICE OF COMMUNICATIONS IS THE NEW COMMUNICATIONS SECTOR REGULATOR. OFCOM ASSUMED ITS POWERS ON 29TH DECEMBER 2003. OFCOM INHERITS THE DUTIES OF THE FIVE EXISTING REGULATORS:

* THE BROADCASTING STANDARDS COMMISSION (BSC) ,
* THE INDEPENDANT TELEVISION COMMISSION (ITC) ,
* OFTEL,
* THE RADIO AUTHORITY,
* AND THE READIO COMMUNICATIONS AGENCY.



Statutory Duties and Regulatory Principles

Ofcom was established as a body corporate by the Office of Communications Act 2002. Ofcom is the regulator for the UK communications industries, with responsibilities across television, radio, telecommunications and wireless communications services.


Ofcom's Statutory Duties

Under the Communications Act 2003:

3(1) It shall be the principal duty of Ofcom, in carrying out their functions;

(a) to further the interests of citizens in relation to communications matters; and

(b) to further the interests of consumers in relevant markets, where appropriate by promoting competition"


Ofcom's specific duties fall into six areas:


1/. Ensuring the optimal use of the electro-magnetic spectrum

2/. Ensuring that a wide range of electronic communications services - including high speed data services - is available throughout the UK

3/. Ensuring a wide range of TV and radio services of high quality and wide appeal

4/. Maintaining plurality in the provision of broadcasting

5/. Applying adequate protection for audiences against offensive or harmful material

6/. Applying adequate protection for audiences against unfairness or the infringement of privacy


Ofcom's Regulatory Principles

* Ofcom will regulate with a clearly articulated and publicly reviewed annual plan, with stated policy objectives.

* Ofcom will intervene where there is a specific statutory duty to work towards a public policy goal which markets alone cannot achieve.

* Ofcom will operate with a bias against intervention, but with a willingness to intervene firmly, promptly and effectively where required.

* Ofcom will strive to ensure its interventions will be evidence-based, proportionate, consistent, accountable and transparent in both deliberation and outcome.

* Ofcom will always seek the least intrusive regulatory mechanisms to achieve its policy objectives.

* Ofcom will research markets constantly and will aim to remain at the forefront of technological understanding.

* Ofcom will consult widely with all relevant stakeholders and assess the impact of regulatory action before imposing
regulation upon a market.




The Ofcom Broadcasting Code.


This Code came into effect on 25 July 2005 .The Code came into force and applies to programmes broadcast on or after 25 July 2005, including a repeat of a programme first broadcast before that date. (Rule 10.17 came into force on 1 July 2005). A programme transmitted before 25 July 2005 will be regulated under the relevant legacy code available under the Legacy Codes section of the website.


How to Use the Code.


The Code is set out in terms of principles, meanings and rules and, for Sections Seven: Fairness and Eight: Privacy, also includes a set of “practices to be followed” by broadcasters. The principles are there to help readers understand the standards objectives and to apply the rules. Broadcasters must ensure that they comply with the rules as set out in the Code.


Section 1 - Protecting the Under-Eighteens

Principle

To ensure that people under eighteen are protected.



Section 2 - Harm and Offence

Principle

To ensure that generally accepted standards are applied to the content of television and radio services so as to provide adequate protection for members of the public from the inclusion in such services of harmful and/or offensive material.



Section 3 - Crime

Principle

To ensure that material likely to encourage or incite the commission of crime or to lead to disorder is not included in television or radio services.



Section 4 - Religion

Principles

To ensure that broadcasters exercise the proper degree of responsibility with respect to the content of programmes which are religious programmes.
To ensure that religious programmes do not involve any improper exploitation of any susceptibilities of the audience for such a programme.
To ensure that religious programmes do not involve any abusive treatment of the religious views and beliefs of those belonging to a particular religion or religious denomination.



Section 5 - Due Impartiality and Due Accuracy and Undue Prominence of Views and Opinions.

Principles

To ensure that news, in whatever form, is reported with due accuracy and presented with due impartiality.
To ensure that the special impartiality requirements of the Act are complied with.



Section 6 - Elections and Referendums

Principle

To ensure that the special impartiality requirements in the Communications Act 2003 and other legislation relating to broadcasting on elections and referendums, are applied at the time of elections and referendums.



Section 7 - Fairness.

Principle

To ensure that broadcasters avoid unjust or unfair treatment of individuals or organisations in programmes.



Section 8 - Privacy.

Principle

To ensure that broadcasters avoid any unwarranted infringement of privacy in programmes and in connection with obtaining material included in programmes.



Section 9 - Sponsorship.

Principle

To ensure that the unsuitable sponsorship of programmes on radio and television is prevented, with particular reference to:
transparency – to ensure sponsorship arrangements are transparent;

separation – to ensure that sponsorship messages are separate from programmes and to maintain a distinction between advertising and sponsorship;

editorial independence – to ensure that the broadcaster maintains editorial control over sponsored content and that programmes are not distorted for commercial purposes.




Section 10 - Commercial References and Other Matters.

Principles

To ensure that the independence of editorial control over programme content is maintained and that programmes are not distorted for commercial purposes.

To ensure that the advertising and programme elements of a service are clearly separated.

MY DREAM JOB!

HAVING STUDIED MANY JOB TITLES AND ROLES WITHIN THE MEDIA INDUSTRY IN CLASS AND ALSO IN MY OWN SPARE TIME. THE JOB SPECIFICATION BELOW REALLY EXCITES AND INTERESTS ME.

JOB TITLES & ROLES WITHIN THE BROADCAST MEDIA INDUSTRY.

The first week of the BC1001 Module, we looked at the different job roles within the media industry. Having Kim as our lecturer is fantastic because she has great experience of working within the industry, and knows some of the job titles extremely well.

Here are some job titles and roles looked at in class which interest me:


Trainee Production Secretary / Production Assistant.

Job Description.

The job is full time, 40 hours per week, trainee production secretary / production assistant position from 20th July for 26 weeks. The pay is £120 per week for the first 6 months. At the end of tis period if both the employer and trainee are happy the post of full time Production Secretary / Production Assistant will be offered at £240 per week on a freelance basis when in production.

Duties Involved.



1. General secreatial duties including dealing with the mail, answering the phones, filing, typing, administering petty cash, ordering stationary. Assisting researchers, directors and producers in their work as required.

2. Obtaining props, preparation and distribution of call sheets, release forms, preparing publicity info for broadcasters PR departments. Completeing programme forms, obtaining music clearance and completeing music cue sheets. Doing BETA SP to VHS transfers, and thanking contributors.

3. Working with camera crews as location production assistant writing shot notes, dealing with contributers, assisting the crew, supervising rushes.

Skills Required.

The successful applicant needs to have an existing interest in TV production preferably gained as a result of taking media studies at GCSE or Alevel or a relevant college course or by having done work experience in the industry. An ability to communicate easily with people is essential as is a friendly telephone manner and a good level of literacy and numeracy. Typing at 30 w.p.m would be useful as would some experience of using word processing software. Ability to function as part of a team is essential as is the ability to work under pressure that goes with the tight deadlines.





BBC SOUTH WEST: TELEVISION PROGRAMMES.

JOB TITLE: RESEARCHER.

1/. JOB SPECIFICATION: AIMS: To provide support o programme staff by undertaking broadly based independent research into any subject or issue relevant to the programme output. To evaluate information and material and present it to the producer in an appropriate form. To assist in assembling and processing programme material. To assist in general programme duties as required.

2/. MAIN DUTIES:

PRELIMINARY RESEARCH.

2.1/. INFORMATION GATHERING: After initial briefing by the producer, postholders are required to undertake independant research to a broad or specific brief, into any subjects or issue relevant to the programme, using all sources of reference both internal and external. Such research may involve either a journalistic or academic approach, and may involve finding and contacting indeviduals and organiseations, finding locations for filming, identifying and selecting stock shots and film clips, and making a preliminary selection of suitable music and material.

2.2/. EVALUATION: Researchers are required to evaluate their findings in terms of programme aims and intentions, and to make preliminary selection for presentation to the producer.

2.3/. PRESENTATION OF INFORMATION: Postholders are required to present their findings either verbally or in writing, using sketches, photographs, and other aids as appropiate. In the case of film and TV they will be expected to select relevant sections and arrange viewing facilities for the producer or picture editor.

PRODUCTION WORK.

2.4/. ASSEMBLY OF MATERIAL: Researchers are required to assist in assembling programme material into its final form. This can include the preparation of draft scripts, interview questions, assembly and preparation of material for rostrum work etc.

2.5/. CONTRIBUTORS: Researchers are required to find, and make the initial contact with appropriate contributors, to ascertain their views, brief them on the programme intentions, make arrangements for them to attend film or recording sessions, and look after them before and during recording.

2.6/. FILMING: In the case of location filming, post-holders are required to make arrangements such as obtaining local permits and permissions, and arranging production facilities. In the case of library material from external sources they arrange copying of duplicate sections, and are responsible for ensuring that these are sent to the picture editor.

2.7/. MUSIC: Researchers may be required to select suitable background or mood music, using BBC libraries or other sources.

2.8/. EDITING AND DUBBING: Researchers who have assisted on location filming may be asked to pass on the producers instructions to the picture editor. On programmes using library material compilations they must assist with arrangements for duplicating material and providing shot lists and identification. They may also be asked to attend dubbing sessions with a picture editor in order to provide information and pass on the producers instructions.

2.9/. POST PRODUCTION DUTIES: Post-holders are required to assist in post production duties such as writing letters of thanks when these concern his or her own contacts. When there is no production assistant available, to deal with letters of enquiry, complaints etc, and to index programme material, and to prepare lists of material for future use.

3/. REQUIRED KNOWLEDGE AND EXPERIENCE.

Post-holders must have a broadly based general knowledge, and must be familiar with conventional sources of reference both internal and external. They must have an understanding of television production techniques and procedures, and a good knowledge of the specialized reference sources for visual research such as film and videotape libraries, and photograph and stills collections. They must be able to assess material in terms of its value and impact on television.



BBC SOUTH: TELEVISION PROGRAMMES.

JOB TITLE: ASSISTANT PRODUCER (TELEVISION)

1/. JOB SPECIFICATION : AIMS: To assist a producer or programme editor in all stages of a television programme or series, with direct accountability for the execution of a programme of a programme intention to a specific brief, referring when necessary on editorial matters.

2/. MAIN DUTIES.

2.1/. To contribute ideas for programme content.

2.2/. To undertake programme research and filming, working on a broad brief.

2.3/. To provide scripted material, including scripts for programme parts into a composite whole.

2.4/. To draft and edit material for supporting publications: e.g. pamphlets, programme notes.

2.5/. To undertake preparatory arrangements for logistic aspects of a single programme or parts of a larger programme.

2.6/. To co-ordinate preparatory arrangements for logistics aspects of a single programme or parts of a larger programme.

2.7/. To co-ordinate preparatory arrangements for all supporting staff, facilities, locations, artists and contributors.

2.8/. To maintain liaison with outside authorities and individuals where appropriate or necessary for the successful execution of the programme and its parts.

2.9/. To undertake direction of film, single camera or outside broadcast items or programmes.

3.0/. REQUIRED KNOWLEDGE OR PREVIOUS EXPERIENCE:

THE POST-HOLDER SHOULD HAVE AN INFORMED INTEREST IN THE AIMS AND OUTPUT OF THE DEPARTMENT OR SPECIALISM, THE ABILITY TO CONTRIBUTE ORIGINAL MATERIAL, AND TO ADAPT WRITTEN MATERIAL, PRACTICAL EXPERIENCE OF FILM OR TELEVISION DIRECTION, KNOWLEDGE OF PRODUCTION TECHNIQUES AND EDITING PRACTICE, KNOWLEDGE OF ADMINISTRATIVE AND COSTING PROCEDURES FOR TELEVISION PROGRAMMES, TOGETHER WITH A KNOWLEDGE OF CONDITIONS OF SERVICE, AND THE IMPLICATION OF UNION AGREEMENTS FOR ARTISTS AND CONTRIBUTORS, AND IN THE PROGRAMMME SERVICING AREAS.

OTHER JOBS TITLES AND ROLES LOOKED AT WERE:

* DIRECTOR.
* PRODUCER.
* SERIES PRODUCER.
* EXECUTIVE PRODUCER.
* COMMISSIONING EDITOR.
* CAMERA.
* SOUND.
* OFFLINE EDITOR.
* ONLINE EDITOR.
* DUBBING.