production

Working Lives: Location Manager

Da Vinci’s Demons at Margam Castle (Credit: Sky)

What does the job involve?

I’m part of a production’s creative team. After reading the script, I pitch my ideas for locations to the writer, producer and director, bringing my knowledge of what an area can offer. Ideally, I like to start as early as possible to have the greatest creative influence – with Little Door’s recent drama for BBC One The Pact, I was involved three months before shooting began.

Do you work alone?

Our Friend in the North West: Cat Lewis

MediaCity in Salford, Greater Manchester, began its rapid expansion into a world-­leading TV production centre 10 years ago, when BBC staff moved in soon after Dock 10 launched its new studios and post-production business.

Back in 2007, when Salford City Council and the Peel Group won their joint bid to house the BBC’s new northern base, I received a call from a very animated Felicity Goodey, the main visionary behind the project.

Covid - Creativity in Crisis | RTS North East and the Border

RTS NETB explores how teams got creative to keep dramas and soaps such as Vera and Emmerdale in production during lockdown.

The “Covid – creativity in a Crisis” panel includes Emmerdale director Ian Bevitt, Danny & Mick production co-ordinator Victoria Griffin, Teesside-based independent producer Matt McGough (Ithica Films) and Fahima Chowdhury, Line Producer for Vera.

Carols from Kings – behind the scenes

The Festival of Nine Lessons and Carols from Kings College, Cambridge, was first held on Christmas Eve 1918. Its fame grew after the service was heard on radio in 1928 and, with the exception of 1930, it has been broadcast at home and abroad ever since. In 1954 Christmas Carols from Kings was televised on Christmas Day as part of a live exchange of programmes with other countries with Midnight Mass coming from Paris on Christmas Eve and Winter Games from Switzerland on Boxing Day.

RTS London hears how AI has plugged programming gaps

In late August, RTS London invited a panel of Arrow representatives, chaired by Muki Kulhan, to explain how the factual indie did it.

Production executive Carrie Pennifer explained that lockdown had meant no shooting or access to the edit suite, and everyone working remotely. Post-production manager Kyran Speirs had more than 20 unfinished programmes to deliver.