Creative Careers - Q3 - Sep 2018

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SEPTEMBER 2018 YOURFUTURECAREER.CO.UK

Creative Careers DJ Andy C “Work hard, don’t rest on your laurels, be nice to people, and have belief in what you’re doing.”

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IN THIS ISSUE Lack of confidence is holding students back when chasing dream career – Milkround

Film business needs 10,000 new entrants in the next 5 years – BFI

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READ MORE ON YOURFUTURECAREER.CO.UK Times have changed in the TV industry and it’s now more open to people from all kinds of backgrounds – RTS

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Demand for creative skills is ever-increasing For the UK’s economy to innovate and grow, we need to prepare and train our future creative workforce. However, there are barriers that stand in our way, including a simple lack of public awareness of the nature and range of creative careers available and how to pursue them.

Alan Bishop Chief Executive, Creative Industries Federation

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ur world-leading creative industries, the fastest growing sector in the UK, contribute £91.8bn GVA (gross value added) to our economy - more than the automotive, life sciences, aerospace, oil and gas industries combined.

One in eleven people are working in the creative industries and the number of creative occupations is growing at double the rate of overall

employment. Put simply, our creative industries are absolutely fundamental to the health of our economy as a whole.

But our sector is facing severe skills shortages, particularly in areas that require a combination of technical and creative skills, such as video games and architecture.

With increasing automation and easy access to new technologies, the demand for creative skills will

grow and grow.

Next year we will launch our Creative Careers Campaign, which will work with businesses, entrepreneurs and schools to ensure that young people, parents, carers, and teachers have easy access to the materials, advice and guidance needed to pursue a creative career.

It will reach more than 600,000 11-16 year olds across the UK and will open doors to ensure that the

widest possible range of talented young people are considering creative careers.

The vitality of our sector depends on it, but so too do the futures of the young people who have such an incredibly rich array of creative opportunities ahead of them.

See more at yourfuturecareer.co.uk

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ADVERTORIAL

Film and TV need hairdressers as well as directors, electricians alongside accountants. There are more jobs than you might imagine – here’s how to find them.

You want to work in film and television but you don’t know where to start? You’re a teacher, careers adviser or parent with bright young talent seeking guidance? We can help.

ScreenSkills, formerly known as Creative Skillset, is the industry-led charity responsible for skills and training at every stage of a career in UK screen – which also includes visual effects (VFX), animation and video games. We don’t train actors but cover the wide array of roles behind the camera.

Our website offers careers information and free resources including downloadable information sheets on jobs ranging from craft and technical roles through writers, producers and directors and all parts of the business, such as accounts and distribution.

We run Open Doors events, which are meetings for 16 to 30-year-olds hosted UK-wide to raise awareness of career paths and provide chances to meet screen professionals.

Our boot camps offer guidance on next steps, including how to make contacts, and act as preparation for the ScreenSkills Trainee Finder scheme, where successful applicants receive training on issues such as health and safety before being placed on films and prestige television dramas such as Jurassic World: Fallen Kingdom, Mamma Mia! 2, Derry Girls and Black Mirror.

If you are thinking of pursuing

Seetha Kumar Chief Executive, ScreenSkills your ambitions at a university or further education college, we have the ScreenSkills Tick which is a signpost to courses relevant to a career in film or TV. We work with industry experts to quality mark courses that deliver the practical skills and knowledge employers want and we list all accredited courses in a searchable directory on the ScreenSkills website.

Until now, the Tick has been largely adopted by universities but we are conducting trials designed to make it work better for further education, too.

And once you’re in the industry,

stay in touch as we have courses to keep the workforce up-to-date.

The UK’s screen industries are growing and need people with a wide mix of expertise. There are more jobs than many people realise – and research suggests that workers in the creative industries are much less likely than most to be replaced by robots. It is a highly competitive sector but also exciting and rewarding. Welcome.

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Game play habits and gender – more than meets the eye

Dr Jo Twist OBE CEO, UKIE

CEO of interactive entertainment trades body, Ukie, Dr Jo Twist OBE, discusses gender game player myths and women getting into the industry.

Prevailing stereotypes about “gamers” are just that – stereotypes that are outdated and not backed by evidence.

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eople who play video games are not just teenage boys playing a single genre; in fact, according to Nesta1, the typical person who plays games in the UK is a 43 year old woman who enjoys her favourite titles on mobile.

Over the last decade, the mobile market and free-to-play models have pushed games and different genres into the hands of much broader audiences. Across platforms and different types of games, the gender split is 48% female, 52%2 male. This broadening audience is fantastic to see, but does highlight the need for a diversity of creators and developers to feed the demand for new kinds of experiences, characters and stories.

High demand for programmers, data scientists and artists Careers in video games are varied and increasingly viewed as an exciting and rewarding option, but

there is still a shortage in skills that the industry requires, particularly as we have a high demand for programmers, data scientists and artists. But the industry also needs people who have business, marketing, legal or accountancy skills too and emerging areas of games such as eSports brings a whole other set of skill demands.

The latest figures suggest only 19%3 of the industry workforce is female compared to the UK average of 45%, so there is still a lot of work that needs to be done. The industry continues to tackle this challenge, from identifying school speakers, to explaining pathways into careers, and working in partnership with

organisations such as BAFTA on its Young Games Designer school competition.

We try to share best practice in inclusive recruitment and retention policies, and we work collectively to spotlight some of the excellent companies that work hard to create an inclusive and welcoming workplace. Whatever your background, we need you. We need people who bring different experiences and perspectives to help us continue to innovate, to create, to thrive – delivering the immersive experiences that enrich our everyday lives.

1: WWW.NESTA.ORG.UK/NEWS/NEW-RESEARCH-PROVES-CULTURAL-VALUE-OF-VIDEO-GAMING/ 2: NEWZOO.COM/INSIGHTS/INFOGRAPHICS/THE-U-K-GAMER-2017/ 3: UKIE.ORG.UK/SITES/DEFAULT/FILES/UK%20GAMES%20INDUSTRY%20FACT%20SHEET%20JUNE%202018_0.PDF

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41% of females and 28% of males say a lack of confidence holds them back Our current research shows that the greatest barrier to a student’s dream career is not only the level of competition or limited amount of experience in a specific field, but also a lack of confidence.

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ur recent insights - where we delved into the minds of students and recent graduates - show that 55% of students are most concerned about competition from other candidates preventing them from pursuing their dream career, which was named by 57% of females and 49% of males, followed by a lack of experience.

More concerningly, 41% of females and 28% of male respondents stated that a lack of confidence holds them back – this shines a light on the fact that businesses need to aid and support students and graduates, in order to encourage them to apply for their roles.

What influences career path decisions?

Looking at students and what influences their career path decisions, our findings show that personal interests and degree subject

are considered as the greatest factors. Today’s students and graduates understand the significance of salary potential, with 34% of all respondents selecting this as the greatest influence on a certain career path.

Nevertheless, the same percentage of students state that their personal values impact their career choice just as much as the salary potential. This shows that a career path must resonate with a student’s beliefs.

What students expect from companies Our research shows that, during the process of a job search, students want more than just a summary of the role on a job description.

Sixty-eight per cent of students would like a job advert to include more detail of day-to-day tasks to get a better picture of what the job will look like, as well as more detail on career progression and future opportunities.

Lucy Warren Marketing Executive, Milkround When talking about company benefits, 70% of students expect a pension scheme and 29% of students expect a subsidised food canteen to be included as an added benefit. More interestingly, students place a lot of value on mental heath schemes, with 44% of respondents selecting this as a sought after benefit that employers should be providing.

Looking at salary expectations as part of a student a student’s job search, females have remarkably lower expectations than males. A third of women expect their starting salary to be £20,000 or less and 45% believe they will earn between £20,000 and £25,000. Whereas, only 22% of male respondents expect less than £20,000 and 42% would expect £20,000 to £25,000.

See more at yourfuturecareer.co.uk

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Top tips to make it as a DJ Drum and bass legend, Andy C, did all he could to make it as a DJ. He shares his top insights into the industry: Andy C DJ

How easy is it to get into the industry compared to when you started?

A: I’d say it’s pretty much the same, really. There’s a lot of networking and you just do whatever job is available to be part of the industry.

When I started, I gave out flyers, sold tickets, did pirate radio, hung out in clubs in the hope someone would not show up, so I could get a set. It’s the same in most industries; you need to put yourself around the right people and be available to do whatever it takes.

Don’t act as if you deserve to be part of something, just earn the right to be involved.

What is your biggest tip for getting into the industry?

A: Work hard, don’t rest on your laurels, be nice to people, and have belief in what you’re doing.

What are the perks of your job?

A: The biggest perk is being able to help people enjoy themselves. It sounds cheesy, but that’s the best feeling in the world. You get to entertain people and make them dance and feel free for a few hours of their life each week.

What support did you have getting into the industry?

A: To start RAM, I got a small loan from my uncle to press the first release, and with a family friend (Ant Miles), I got more studio experience at a young age than most I guess.

As far as making connections in the industry’s concerned, I generally just made a nuisance of myself at local record shops, sent out mixes for gigs and when the opportunity rose to actually go and perform, I made sure I got to speak to the right people and stay in contact with them in one way or another.

What does gender representation look like across the industry?

A: It’s improving. We need to make sure everyone has equal opportunity- that’s the way you find the best talent, you don’t discriminate.

The music industry doesn’t exist in a vacuum, it faces the same issues that the rest of society does.

I’ve always believed that people should be treated equally and that’s something all industries need to work better on.

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Being a DJ and a woman Kayper DJ

How easy is it to get into the industry compared to when you started?

A: Technology is the main reason that it is easier to break into the industry, now more so than ever before. If you have a laptop (which most people do), then you have the most basic equipment needed to either be a producer or a DJ. When I started in this industry, DJ-ing was an expensive hobby to have. You needed to buy two turntables, a mixer, wires, an amp, speakers and, of course, build up a vinyl collection. Today, all you need is a laptop and DJ software as a very basic setup to start on. However, I believe, to be successful, you still need raw talent, an ear for music and the ability to read a crowd.

That’s not something you can download off of the internet, it’s a skill you hone with practice and dedication.

Do you think males and females are treated equally in the industry, and why?

A: There is an inherent inequality within the music industry and a lot of the times I feel that this is the results of male insecurities – men maybe not believing or respecting the fact that a woman can do something equally as good or better than a man. It’s something I think some men are programmed to think and, although I believe the attitudes are changing, they are not changing rapidly enough.

Throughout my career, I have been referred to as a “female DJ” or “female producer,” which is something I have never quite understood. “Female” isn’t a genre or a sub category as much as “male” isn’t. To me, whenever I hear the qualifier term “female” being used to describe what I do, I find it offensive, especially because my path and dedication to becoming successful within the music industry is no different from what any male DJ or producer has taken.

What are the perks of your job?

A: I get to be my own boss and make my own schedule. I also get to travel and make friends all over the world.

You are obviously a role model to many. What is your message to younger people?

A: Practice makes perfect and perfection takes time. Hone in on your skill and above all, make sure you stay humble and be a good person.

These are the things that you will be remembered for in the end.

What is your biggest tip on getting into the industry?

A: Be specific with what you want to do and be exemplary. Study your idols and find a mentor.

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The film business needs “10,000 new entrants in the next five years”

Why TV is no longer a ‘closed shop’

Working in the movies is now a viable option because the film industry is growing — and crying out for new recruits in different areas, from computer coders to accountants.

Amanda Nevill

Theresa Wise Chief Executive, Royal Television Society Times have changed in the TV industry. It's now more open to people from all kinds of backgrounds, as long as they come equipped with enthusiasm and a willingness to work hard.

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nce, if you wanted to get into TV, it helped to have good connections or an Oxbridge degree. Or preferably both. But not anymore, insists Theresa Wise, Chief Executive of the Royal Television Society, the educational charity that promotes the art and science of television. “There’s now an understanding among broadcasters and production companies that it’s critical to get fresh talent and relevant ideas from everywhere in order to represent Britain as it is,” she says.

Not surprisingly, high-profile TV jobs — presenters, directors, producers — are the ones that are hardest to break into. But behind the scenes there’s big demand for all kinds of talent, from production managers to set builders, from marketing executives to hair and make-up artists. Digital skills are highly sought after, too.

Get some practical experience A degree may help, but it’s not the only way in. In fact, the best route will depend on the type of role you want. “The idea that you have to come from a degree background isn’t true anymore,” says Wise. “Actually, it’s incredibly important to have practical experience, because this is an industry where qualifications are great, but a lot of training is done on the job.”

It’s therefore a good idea to approach companies to find out which ones are open to offering work experience.

Internships are available via broadcasters and production companies, and many are aimed at diverse or low-income candidates. Some organisations also run — or are planning to run — apprenticeships. “These are tough to get into in some respects,” says Wise. “But they’re aimed especially at people who have no access to the industry via family, income or some other connection. With TV, you have to prove yourself, so get involved and be enthusiastic and willing to work hard.”

Tony Greenway

CEO, British Film Institute (BFI)

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f you really want to understand the career opportunities available in the film industry, stay to watch the end credits of any movie. All those names scrolling past your eyes are people who have been paid to do a skilled job. And there are lots of them. Your name could be up there too, says Amanda Nevill, CEO of the British Film Institute, the lead body for film in the UK. “Everyone focuses on the director, writers and producers,” she says. “But, actually, the industry is now so sophisticated it needs every single skill imaginable. That's why the people that feature in the credits include computer coders, accountants, marketeers, drivers, nail technicians, wigmakers, location managers, people who look after health and welfare, plumbers, electricians and carpenters. The film industry is the superfood of employment for the next generation — and it's growing exponentially.”

Thousands of new entrants needed No-one is saying that landing a career in the film industry is easy but, years ago, it seemed impossible to enter and so many job-seekers discounted it immediately.

That's not the case now, insists Nevill.

“Going back two decades, the industry was very small,” she says. “Now, though, we're an enormous, highly professionalised, international industry that needs at least 10,000 new entrants in the next five years.

We also know we need people who have an education that combines the cultural and the artistic with the practical.”

In fact, the industry is actively crying out for new blood and doing lots of things to entice people to become part of its workforce. For example, the BFI’s partner, Into Film, now has film clubs in 11,500 schools across the country. “The idea is to get students interested in cinema, but also show them that film and TV production is a credible career that is open to all,” says Nevill. Other opportunities include taster initiatives run by industry professionals, residential courses and various skills trainee programmes.

Good people are in high demand Be aware that this is an industry where a high percentage of workers are selfemployed. But don't let that put you off, either. “Because there's a shortage of skills in the sector, if you're good, you're in high demand,” says Nevill. “If you're looking for a stable job where you're at a desk 9-5, you probably don't want to work on the practical side of film, because you might need to be up a mountain at five in the morning if you're a hair and make-up artist or working in catering. You have to enjoy diversity.

Most people working in film will tell you they love it. There's a great sense of camaraderie on set, but there's also a sense that they have to get the job done. Every shot counts.”

Tony Greenway See more at yourfuturecareer.co.uk

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Universities must “work with industry” to offer students the best opportunities Degree students in the creative sector are looking for solid work placement opportunities while they study. This means universities need to build strong links with industry SPONSORED Professor Simon Robertshaw Head of the School of Arts and Digital Industries, University of East London (UEL)

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rofessor Simon Robertshaw, Head of the School of Arts and Digital Industries at University of East London (UEL) says “I say this to students and their parents all the time.” “It's important to realise that the creative industry is the fastest-growing sector in the UK and now includes jobs that weren't traditionally considered to be under the umbrella of 'the arts', like technology, programming and engineering.”

In fact, the arts and digital industries field is changing so rapidly that further education colleges and universities are having to adapt in order to stay relevant. “Ten years ago, we would never have run a course in social media, for example,” says Robertshaw. “And look at the film and games sector, which is huge now.” To illustrate his point, he mentions that the world's best-selling entertainment title is actually a video game (and one created by a UK studio): Grand Theft Auto V, which has made $6billion in sales around the world.

No wonder universities have added BScs in computer design and BAs in computer games story development to their portfolios.

Tutors are expected to have industry experience One way to ensure that universities keep pace with such a fluid sector is by building a solid network of industry connections in order to offer students placements in their chosen fields. Employing tutors with industry experience is a vital part of this, insists Robertshaw.

“Students expect universityindustry cross-collaboration these days and will ask: 'OK, so you run video games courses. But who are the tutors, what industry connections do they have and what placement opportunities and sandwich courses do you offer?' Because they know that practical experience is like gold dust.”

Once, a student would start a three-year degree at university and come out the other end as a graduate with no experience.

But that's not how it works any more, says Robertshaw. Indeed, he believes that practical experience is so important, that universities offering courses in the creative industries will need to find new education models before long.

“A nurse at university will spend three-quarters of their time in

hospital,” he says. “So why don't we apply that same reasoning to the creative industries? Some of a student's time should be spent at university, but they should also be out there at the coalface. I think things will change to a more blended approach — and that's exciting.”

Transferable skills in demand Also exciting are the opportunities that London currently offers in the creative sector. “I tell students that this isn't just the capital of the UK. It's the cultural and creative capital of the world,” says Robertshaw. “Massive design firms are here; Amazon, Google, visual effects company Industrial Light and Magic, production companies and many, many more. Plus, the Dagenham film and TV studios – which is now under construction – will be the biggest film studio in the country. All these places are after talent — but they're after good talent.” That means people who know their own craft but can work collaboratively, pitch well and write well. “They want transferable skills,” notes Robertshaw.

Of course, a degree isn't a prerequisite for anyone interested in a career in the creative industries, but it may give students an edge over the competition. Perhaps more importantly, university is an opportunity to discover new things and find out where interests really lie. It's also a chance to change perceptions, says Robertshaw. “For example, new video games students might say: 'I want to make a game and I'm going to use 3D to do it.' But that's not what the games industry is about. It's actually about storytelling. So they need to start thinking up new stories and study stories in games that already exist. Changing notions of how the creative industries works is so important if students are to gain an in-depth understanding of the sector and find their place within it.”

Tony Greenway

Read more at uel.ac.uk/ati