RTS London

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.

Since starting at the BBC in 1961, he has worked on some of the UK’s most loved shows, including Dad’s Army and Morecambe and Wise.

In a new RTS London film, It’s All About the Sound, McCarthy discusses his career at the BBC and as a freelancer with Strictly Come Dancing sound supervisor Richard Sillitto, a colleague over many years.

Will Pitt, head of sport​ at video management specialists Imagen, was talking at an upbeat joint RTS Archive Group/RTS London event, “Protecting our TV heritage”, in early March.

He was backed by BFI head of conservation Charles Fairall, who noted that the digitisation of TV archive material has made it “instantly accessible”.

IBC technology advisor Mark Smith predicted that 5G would boost the power of mobile networks to distribute media and entertainment content.

Deloitte media consultant Khalid Hayat forecast a future of cloud-based multi-platform, high-speed networks, feeding a wide range of platforms and devices, with not just subscription video on demand (SVoD) but cheaper, ad-sup- ported VoD at perhaps half the subscription rates.

In a month that saw No.10 Downing Street train its guns on the BBC, Bolton was pointing out how difficult the job has become. With current Director-General Tony Hall leaving the BBC in the summer to take over as chair of the National Gallery, the search is on for candidates.

There are serious issues to address for an incoming D-G: the Government wants to decriminalise failure to pay the licence fee; the decision by the BBC to make over-75s not on benefits begin paying the licence fee again this year; and the decline in young people accessing BBC services.

Children are the canar­ies in the mine, picking things up first,” obser­ved Greg Childs, direc­tor of the Children’s Media Foundation, as he introduced an RTS debate on how children’s TV and content movers and shakers are adapting to the fact that young people have migrated online.

An optimistic tone was established from the start by Alice Webb, the out­ going head of BBC Children’s and Education, who asserted: “Yes, the kids are absolutely fine. They have more choice than they ever had. They are exercising choice and are after things that interest them.

Speaking at the RTS London Christmas Lecture, he predicted that despite the growth of streaming services a lot of people would still be watching live, scheduled TV in a decade.

He said: “In ten years’ time linear TV will be distributed by IPTV, but scheduled TV will still be important, that more passive way of consuming curated content will have a very important role, not least in news and entertainment.”

“Make your face known… just apply and pitch for stuff, even if you might feel out of your depth,” said young 2D animator and film-maker Elmaz Ekrem. “Someone will eventually take a chance on you.”

Ekrem’s film (made with Dominika Ożyńska) about the refugee crisis in Europe, The Law of The Sea, was part of Channel 4’s short-film strand, Random Acts.

The four-strong panel offered advice to the many young animators in the audience.

The freelance producer and trainer gave a demonstration of the smartphone’s filming capability at an RTS London event in early November.

“No matter how big the tool, it comes down to the person who is actually using [it],” said Mulcahy. “Storytelling is about where the focus is – and understanding how you shoot.”