INDUSTRY | CREWI NG
RENTAL COMPANY LOOKING TO INSPIRE
Leading manufacturers also feel a duty to rectify the industry’s skills shortage – a huge player like Arri Rental, a company that has backed big DOPs on large-scale productions, is even supporting those outside its remit, with the Inspire Programme. “It was set up six years ago, designed for people with no experience or contacts in the industry,” explains Robert Waters, camera operation manager at Arri Rental. The three-year training programme enables young, raw talent to get real, hands- on experience in a professional working environment, make priceless connections, and have the support of Arri Rental as they navigate their way through their first freelance role. “We found that everyone in the programme is offered a freelance job towards the end of their time,” enthuses Waters. “The benefit of them meeting crew and gaining contacts, coupled with the knowledge they obtain, sets them up for success – and we are extremely proud of the programme and people that passed through it.” For those already in the industry, Arri Rental offers a diary service called Arri Crew, which manages the diaries of freelance technicians. This isn’t a direct rental service for providing crew, but it does help production managers gain access to a pool of highly skilled individuals with experience across feature films, TV dramas, documentaries, commercials and promos. The service is run by Kate Collier, and her aim is to guide workers as they navigate the complex world of production. More than just a diary service, it is a place where freelancers have space to grow, getting the support needed to work at their best.
grips, editors, art directors, production coordinators and line producers – these are the most under-represented,” explains Ball. Producers can apply for up to £15,000 per production, and it can be claimed if more than one individual is being ‘stepped up’, or if the person being proposed is following senior roles, like producer, line producer or a head of department. By supporting more than one applicant on each production, the HETV fund can ensure it is delivering maximum value for money from its investment. “If productions are paying into this fund, they should absolutely make the most of Trainee Finder and Make a Move,” says Ball. “We also have Film Forward, designed to create change in the industry by supporting experienced Black, Asian or minority ethnic professionals advancing into more senior roles. The programme offers financial and coaching support, and If productions are paying into this fund, they should absolutely make the most of Trainee Finder and Make a Move
also matches workers with at least five years’ experience in below-the-line roles with paid placements in UK productions.” BREAKING DOWN BARRIERS As a call for greater collaboration on improving social mobility in the UK screen industries, ScreenSkills also runs outreach programmes, including Discover!, Creative Careers Week, and First Break, supporting those from lower socio-economic backgrounds. Research by the Creative Industries Policy & Evidence Centre (PEC), supported by ScreenSkills, showed that only a quarter of people working in the sector come from lower socio-economic backgrounds, compared to 38% across the workforce as a whole. “There’s a lot to be done, but ScreenSkills is collaborating with colleagues in the sector to unblock barriers to people from disadvantaged backgrounds, by supporting employers to introduce fair recruitment and genuinely inclusive working practices,” says Ball. “Everything we do is open to all, but a major challenge is getting the word out – people often find us despite having no idea we existed. Many producers use us for the production side, but don’t look at other areas where they’re underskilled or understaffed. So, it’s worth reiterating that our funding is open to all people who want to work in the UK’s screen industries.”
22 DEF I N I T ION | AUGUST 202 1
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