POST
WHAT NEXT FOR POST PRODUCTION?
employees elsewhere.” “Ideally a new levy for post would be created,
targeted at the specific needs of the sector’s employees delivering long-term consistent benefits,” says Bray. “However, if there is not an appetite to increase the overall training levy then we need to ring-fence a sensible portion of the existing funds for staff roles in post-production sufficient to cover a highly complex technical training with specialist providers and appropriate resources: this is not low-cost training.” “If the current demand for production
continues, the lack of training will result in greater pressures on the post sector and inevitably wage inflation will lead to higher costs and therefore rates – we either pay for a better-skilled workforce collaboratively or face a higher cost base, who will, in turn, weaken the sector and affect individual project budgets.” “Wage inflation is severe and unsustainable
as demand for skilled workers is greater than the current supply,” says Kemp. “In the medium to long term, the solution is to train up staff to fill vacancies and build a bigger talent pool. We are currently looking at restructuring our departments to employ more junior staff and support them with training.” Molinare has joined a Kickstarter scheme to
develop new talent from diverse backgrounds across all sectors. “To ease the strain on post houses and generate
good candidates coming into the industry, we must work closely with Universities and Colleges,” says Bennett. “By forging close relationships, we can ensure there is an understanding of the needs of the facility and feed that into the curriculum,” says Bennett. “The use of apprenticeships is also instrumental in the success of our industry, targeting candidates who otherwise would be restricted by cost implications.” “Creating a meaningful training scheme takes
70
televisual.com Autumn 2022
time, headspace and requires the full support of the industry so it isn’t just about the funding,” says Kotschy. “At Residence Pictures and Coffee & TV Group we are piloting a training initiative designed to tackle both the diversity and inclusion crisis in the UK post industry and the skills gap in one hit.” “We are setting up an Academy that provides
free, practical, hands-on training and access to the UK VFX and Post Production industry to marginalised and underrepresented communities,” she continues. “We are currently in the development phase, but we hope to roll out a pilot course in early 2023. After evaluation, we are looking to develop our piloted scheme into a rolling, multidisciplined course that is recognised for providing a well-trained, entry-level workforce directly into the UK Post Production and VFX industry.” Envy Academy, a specialist training programme,
was set up 14 years ago. “We were always keen to hire, teach and train and saw it as a complete necessity not only for our own business but for the industry as a whole,” says Natascha Cadle. “The results have been amazing and over half of Envy’s workforce is ‘homegrown’ and we have trained well over 1000 people.” The ENVY Academy operates on two levels,
as an internal training programme and as an information source for students in education. “We visit many universities and sixth form colleges to talk about what we do and invite students for work experience, when possible,” Cadle adds. “We also use Skills Base which is a training and development software and have training guides to help members progress into their chosen field.” So, facilities are adapting, as they always have.
“Post-production has always been squeezed at the end; we’re used to it,” says Moss. “It’s where all the problems arise when the money runs out. It’s a very challenging area, but we like a challenge; it’s something we’ve always done.”
Top left: BBC comedy Pru was posted at Residence Pictures
Top right: The
BBC’s MasterChef was worked on by Splice
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156
