Mash has worked widely on US series House Hunters International and also shot an interview with Stephen Hawking for US talk show Last Week Tonight with John Oliver. Warrington, who usually works in natural history on programmes such as Channel 5 series Ben Fogle: New Lives in the World, recently shot CBBC drama Wolfblood Secrets, his first outing as a drama DoP.
Pia Di Ciaula, film and TV editor specialising in drama: “On The Crown there is no difference because Stephen Daldry (the director) and I treat every episode like a feature film, but prior to that there was a big difference.
“I moved to the UK (from North America) so I could edit independent films with the best directors and actors in the world.
“Simplicity is the key. When I was pitching, if I didn’t know what the idea was in two or three lines, I’d tell the producer to ask them to rethink it.
“As a commissioner I’d sometimes get a beautifully presented five-page document and get to the end of it and think ‘So what’s the show?’
“For me, the other big thing is purpose. As yourself "What’s the point?' Just because you can do it with TV cameras doesn’t mean it’s a TV show. You should be trying to answer a question.
Bax experienced the high life on BBC One documentary Supersized Earth, working on a ledge at the top of the Burj Khalifa, the world’s tallest building. Gettens added “explosions and bullets whizzing around people’s heads” to BBC One’s D-Day the Last Heroes.
Lambert Productions MD Emma Wakefield led the conversation at the RTS Craft Skills Masterclasses.
She shared the pleasure and pain of writing drama with EastEnders boss John Yorke at this year’s RTS Student Programme Masterclasses.
Script editing “was an invaluable way to learn about television production and writing … Having that ‘production head’ gave me an advantage in writing [my] first episode [of Wolfblood) …but I was still very much learning the ropes.”
The duo were in conversation with Alex Graham, joint chief executive of Two Cities Television, who argued that True Vision “takes on the really important subjects, whether that’s poverty or human rights or inequality, but in a way that takes you directly into the heart of the human stories”.
“I’m a Northerner (Myrie was brought up in Bolton) and didn’t come from a media family. I was a second generation immigrant. (My parents) didn’t want me to become a journalist.
"They wanted me to be a lawyer or a dentist, a respectable middle-class job for their first-born child born in the United Kingdom.
"Around the age of nine I had a paper round, I read the products that I was lobbing over the garden fences and as a result of that got interested in the world.
The 2018 bursary scheme offers 25 bursaries for Television Production and Broadcast Journalism students and seven bursaries for Computing and Engineering undergraduates bringing the total amount invested in the two schemes to £133,000 this year.
The ScreenSkills scheme invites 75 more recruits for film and 40 more for television, from a variety of backgrounds, to apply for the scheme that offers paid work opportunities across the UK.
Previous film trainees have worked on Fantastic Beasts: The Crimes of Grindelwald, Mamma Mia! Here We Go Again, Peterloo, Stan and Ollie, and Lady Macbeth.
One of the panel, Lizzie Kempton, was the assistant producer on the Grierson Award-winning BBC Two film, How to Die: Simon’s Choice, which tells the story of a man with an aggressive form of motor neurone disease who chooses to end his life.
