Latest TV/Video Jobs

Here is my selection of the best vacancies across TV in production and journalism, plus video opportunities too.

Let me know if you would like to apply as I can help improve your CV and application. Check the mentoring section above for some amazing feedback from clients:

Freelance Filmmakers for Monocle:

Number of roles advertised at London Real – including PR Manager and Video Producer:

Various roles across production at Perform:

Production Manager + Production Coordinator British Muslim TV:

Journalist / Presenter for Islam Channel:

Journalist wanted for BBC South Today in Southampton: CD: 13/01

Assistant Editor, Arabic Newsgathering & Planning – BBC: CD: 13/01

RTTV UK has this Broadcast Journalist opportunity: CD: 14/01

Journalism Researcher – News Intake – BBC in London: CD: 14/01

AFP looking for an Editor / Correspondent in Hong Kong: CD: 15/01

Digital Multimedia Storyteller for Right To Play – a role based in Toronto : CD: 15/01

Assistant Editor, BBC Newsnight: CD: 16/01

Digital Producer – Good Morning Britain – daytime: CD: 16/01

Senior Video Producer at the University of East London: CD: 16/01

General Reporter covering Scotland – Channel 5 News (ITN): CD: 16/01

Multiskilled Camera Operator – Based in Scotland, Channel 5 News:  CD: 16/01

Senior Camera Journalist in Millbank for BBC Scotland: CD: 17/01

Assistant Producer, Short Form, BBC Sport: CD: 18/01

Producer opportunity with Good Morning Britain: CD: 18/01

Head of Production (12 month FTC) at ITN: CD: 18/01

Programme & Digital Editor, ITV News Channel TV in Jersey:  CD: 18/01

Content Curator, AP Live Choice – AP in London:  CD: 18/01

BBC Newsnight is looking for a Correspondent: CD: 20/01

Aberdeen Journalism Researcher with the BBC: CD: 20/01

Deputy News Editor, ITV News London: CD: 20/01

Output Producers wanted by TRT World in London: CD: 21/01

Video Director at Kyra TV: CD: 21/01

Story Editor for CNN Digital: CD: 24/01

ITV News, Multimedia Producer – Digital: CD: 24/01

Digital Content Producer, ITV News: CD: 24/01

Assistant Producer, Natural History Unit at the BBC: CD: 27/01

Videographer at BrighterBox in London: CD: 29/01

BBC News Live Political Programmes Journalist (Talent Pool) : CD: 31/01

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Latest Radio/Audio Jobs

Here is my selection of the latest vacancies across radio in the UK and abroad.

Let me know if you would like to apply as I can help improve your CV and application. Check the mentoring section here for some amazing feedback from clients.

Imaging Producer – Virgin Radio:

Executive Producer for The Wall Street Journal (overseeing audio/video) :

Digital Audio Producer for Wall Street Journal in London:

Broadcast Journalist for Global Radio in Milton Keynes:

Regional Deputy News Editor for Global in Cardiff:

Capital Xtra Content Editor in London:

Imaging Producer wanted for Classic FM and Smooth:

Audio Assistant for Harper Collins:

Programme Director for Channel 4 Radio in the UAE:

Freelance Audio Describers – American Accent – Deluxe Entertainment Services Group:

Audio Producer for The Media Bunker (London / South East):

Promo Assistant at Fix Radio:

Senior Journalist (Presenter, Drive-time), BBC Radio Oxford: CD: 13/01

Journalist (Digital), BBC Radio Coventry/Warwickshire: CD: 13/01

The National looking for a Podcast Producer in Abu Dhabi: CD: 13/01

HMPYOI Brinsford – Music and Radio Tutor (through Milton Keynes College) : CD: 13/01

Journalist (Social Media), BBC Radio WM: CD: 15/01

Producer – BBC Radio Scotland’s Speech & Topical team: CD: 15/01

Producer, Pop Hub Station Sound – the BBC (London): CD: 16/01

Senior Multimedia Journalist – in Brighton : CD: 16/01

News and Sport Reporter with Radio Clyde, Glasgow: CD: 18/01

Podcast Producer opportunity with Reach: CD: 18/01

More Radio in Worthing after a Broadcast Journalist: CD: 18/01

Broadcast Journalist Sputnik UK in Edinburgh: CD: 18/01

Journalist (Digital & Social Media), BBC Radio York: CD: 20/01

Lead Project Manager – BBC Sounds: CD: 20/01

Digital Journalist at Credible Media (Revolution / Oldham Evening Chronicle) : CD: 22/01

New Formats/Platforms Video/Audio Producer – Reach: CD: 25/01

Evening Standard, Audio Journalist / Producer – FTC: CD: 08/02

ILR Head Of Customer Operations with Wireless: CD: 28/02

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GCSEs and A Levels: An unfair examination of ambition

As media outlets donated more time to school achievers in the annual reporting of GCSE and A Level results, I thought I would reassure those teenagers that feel forgotten at this time of year. Away from the cheering blondes on the front pages and thousands of 18 year olds battling to get to their favoured university, there are many more teenagers thinking that their future doesn’t look very bright. Maybe because right now, they themselves do not feel very bright.

But passing exams is only one way to judge intelligence. Common sense, initiative and emotional intelligence are not easily tested by schools and universities. Furthermore, as humans we develop at different speeds and it just might be that at 16 to 18 – you were not ready for the intensity of those studies and exams. I did not do A Levels until I was 22. I had left school at 17 with 3 O Levels and a cluster of CSEs (which meant very little then and means absolutely nothing now). I went to an awful comprehensive in Reading, which was so poor, it shutdown when I was there and we were the last ever 16 year olds to attend.

I could have easily been written off at 16 – and in many ways I actually was. I talked about a dream to work in radio and the media but teachers dismissed that with virtual contempt. I left school and took the first and only job I applied for, working in a factory doing a role that was incredibly mundane. Through increased confidence and surrounded by people who had perhaps been similarly dismissed after school I pushed for promotion and ended up working in more senior roles. By the time I studied A Levels I felt far more able to tackle them. I had grown up (a bit anyway) and could articulate thoughts and analyse texts in a way that was beyond me at 15 and 16. I got great grades and was able to study journalism as a result.

That experience led to me to believe the system of school to university is too fixed. I have written about this a few times. But if more 18 year olds were encouraged to wait before going to university I think they would get more value from it when they eventually attend.

Too often the media focuses on the black and white of success and failure with regards exams. Of course, it is not that simple. Most teenagers achieve moderate success and need to be encouraged to have ambition and aspiration, which isn’t just about going to a ‘top’ university. Thinking that poor academic results at 16 or 18 is the end is clearly wrong. As Mark Kermode, the film reviewer tweeted, his grades were not great all those years ago but it doesn’t mean that’s it for the rest of your life. His career did not turn out so bad after all. If you struggle with exams or university work now, perhaps you need to live a little first and return to your learning in a few years. The key to remember is that nothing is final at 16 or 18.



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Creating a CV – avoiding cliches

There was a recent study of CVs that highlighted the most used words by candidates. It underlined a key thing I emphasise to clients; as a journalist you are encouraged to avoid cliche, so why not do the same in your applications and in your CV?

This study picked out the following words/phrases as the most common:

Motivated, initiative, social, organised, friendly, leader, experienced, hard working, outgoing, driven.

Let’s take ‘leader’ as the first example. If you are indeed a leader your CV and ‘experience’ will demonstrate that. So you don’t have to say it. And this is a recurring theme for my mentoring. When working on a CV I encourage the client to pick out examples of work (at any stage, university, school and in the work place) to show that you can do something. Media is all about demonstrable skills, so it is not enough just to say you are a leader. Demonstrate it.

The key thing to also bear in mind, is that no one ever says the opposite to things like ‘team player’ or those examples above like driven, friendly and motivated. Therefore including them is pointless. If you are a team player, then once again, demonstrate it.

Outgoing is a strange inclusion in this list. What people are trying to achieve by saying this baffles me. I don’t really know what it means or what it adds. If someone is very outgoing there maybe some value for certain jobs but generally it’s not a particular strength I look for.

The word on that list which should be avoided by recent graduates in particular is experienced. You are not experienced in very much at all in your early twenties and you certainly won’t be an experienced journalist of any description. I suggest a minimum of ten years in the work place before you start using that word in applications.

‘Social’ came third in the list above with the researchers arguing that people are keen to highlight that they can get on with others but I don’t think that’s the case at all. I imagine it’s more to do with social media. And if you are applying for a job in the media then talking about social media is crucial. But you don’t have to say the term social media, just highlight what platforms you use. Once again, demonstrate that you can use and understand social media. If you’ve published stories on Instagram or created content on Snapchat, it will have some value to the application.

The flippant thing I say to clients is “if you can’t make yourself interesting on paper then what does that say for your writing skills generally”. But people find it hard to write about themselves. Therefore asking others for help and guidance makes sense. Always get someone else to look over your CV, to check for mistakes and to see if you are under valuing yourself and your skills.

Most of all though, avoid the cliches and demonstrate those skills! Good luck with your applications.



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Quality Not Quantity, It’s Not Always Best For Radio

When considering awards for radio programmes, judges are often looking for great content; something dynamic, engaging, different, magical. But also they are looking for how that content was recorded. One of the key things looked at in a news or magazine programme is whether guests have been recorded ‘in quality’. To normal people (the patronising way radio professionals refer to the audience) what does that mean? It means getting someone in a studio or interviewing them face to face. It means ensuring the audio is of the clearest and best sound quality.

This is a fair benchmark for the effort put into the production. Many News Editors I have worked with have also been fixated with these quality interviews. But does the audience notice? Or more importantly, does the audience even care? The truism often used in radio is that once you have worked in the industry you can never be a true listener again. Your judgement becomes based on things that matter to a broadcaster but not always to the listener. The classic example being the old DJ style of speaking up to a song’s vocal. That was something only the DJ themselves ever thought mattered.

In news we pride ourselves on good writing and getting great clips of audio. This does make a difference to the listening experience of course, but whether someone is on the phone or ‘in quality’ really does not. Some research has indicated that listeners would actually trust phone audio more on some occasions, such as when a person is in a far flung part of the world. After all, we all speak to people over the phone and know what it sounds like. If the phone line is clear and the interview is not too long, it is always good enough for me. The fixation of quality is misguided.

New technology brings different issues. Skype is increasingly used for interviews on TV and radio. For television I think this is fine, as you can see the person sat in front of a laptop for example. You have a context for the sound. But on radio Skype can sound awful and without the visual you may have to explain that the person is speaking on Skype. You don’t want the listener thinking why is that audio weird. They then stop listening to the content and the point of the clip or interview is lost.

Getting guests into the studio does obviously have benefits for better content. Such as eye contact with the presenter and better dialogue between different guests. But ensuring you get a variety of opinion and voices on a story is more important to me as a News Editor than whether someone is ‘in quality’. So quality over quantity isn’t always a must.

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Why Journalism Should Reclaim ‘Fake News’ From Donald Trump

This month saw the very origins of fake news; April Fools’ Day. Newspapers, radio and some TV love a good April fool. Making up a story that is so ridiculous some believe it, before a face palm moment after a check of the date. Obviously this is not where fake news started but the meaning of those two words has changed dramatically since it’s become part of the everyday journalism lexicon.

I recently attended an interesting discussion at Sky News about fake news and more pertinently, Donald Trump’s influence on the term. Since he became US President he has used fake news as a way to dismiss reporting he disagrees with. It’s been a clever strategy (or am I being too kind to Trump?). So vehement has he been with the use of the phrase, most people now use it for exactly the same reason.

Other prominent figures have followed. Jeremy Corbyn even used it to dismiss claims of disquiet in his shadow cabinet. That’s not fake news; that’s just political rumour and mischief. Very different to how fake news started in my eyes, with those ludicrous ‘Hillary Clinton is an alien’ type articles that appeared on social media. Mocked up articles made to look real that were initially funny then just another reason to turn off my Facebook feeds. That WAS fake news.

As Donald Trump has settled into the White House he’s manipulated the usage of the term so that people can easily dismiss journalism as fake news and deflect attention and focus. Like so much of the rhetoric from Washington lately, it’s a crude weapon against perfectly fair questioning.

But like many others I do not believe that Trump is or has been bad for journalism and the media. Quite the opposite. Sky News even created a Donald Trump tab on its website to collect all the content. He creates material almost daily and we in the media feed on it. Sometimes he even seems to create his own fake news without realising!

That debate at Sky News asked whether trust in journalism had fallen – with research indicating that it remains constant; constantly low. We are not a profession held in high regard by much of the public and that will probably never change. Journalism rates about the same as politicians, not something to be proud of.

What I’m thinking is that journalism should reclaim fake news and its meaning. Instead of letting people get away with dismissing rumour and accusation as fake news we throw it back and don’t let them use this flippant escape. Source stories properly; challenge politicians and officials and hit back at this lazy ‘fake news’ repost. I’d also really love to hear fake news said a lot less in the media, it has to be one of the most annoying terms since, err, Brexit. Better not get me started on that though.

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Video Killed The Football Star

I have a feeling that football is about to enter one of the most critical points of its history. The game’s lawmakers have approved the international use of Video Assistant Referees – VAR – and the technology will now likely be seen at the forthcoming World Cup in Russia. I have long thought it strange that the world’s most watched sport has not used technology to help officials get the decisions right and the introduction of goal line technology has proved how effective it can be.

However, I have real concerns the game could be about to take a path that causes irreversible damage to its reputation and permanently dent its huge popularity. The death knell for the football bubble has been forecast many times before but VAR could be the pin that pops that bubble. After this week’s FA Cup tie at Wembley, Tottenham’s Danny Rose described the system as shambolic and a disgrace. Half of players in Germany seem to agree with him and don’t want it continued there.

Managers have also expressed a dislike for VAR, as they queue up to suggest it ruins the flow of the game. This is partly true, but when you think the ball is out of play for at least a third of most matches this argument seems weak. There is also a strong case to say the system needs to be tested properly before we make a judgement. Other sports experienced problems early on but now use video widely for reviews. But other sports are other sports; the lessons might not translate to football.

The reason I say this is that technology cuts to the heart of football, or at least the reason why I fell in love with the game. The atmosphere. That moment of absolute joy when your team scores or an opposition penalty is saved. Of course you cast a quick eye to the linesman and check his flag but the celebration is uninhibited and utterly joyous. It’s an escape. I have climbed over people, run down steps, and hugged strangers when Reading have scored critical goals (and yes, before you say it, there have been a few!).

How will those moments be in this dystopian world I foresee though? A goal is scored and instead of a quick check to the referee or assistant, you are wondering whether 15 seconds later it will be ruled out. Right now every goal is checked and that means every time someone scores there will be doubt in my mind. The air is sucked out of the moment; that instant joy is lost. Because it’s the fans that are being ignored with this technology. We don’t even get to hear what’s being reviewed and why. There is no big screen replay and many grounds do not have that facility anyway.

In cricket, umpires now always review a run out it seems. They know the technology is there and therefore play safe. But bad decisions are still made. Human error still occurs. The stats suggest ‘correct’ decisions went up from 93 percent to 98 percent in football with VAR but is it really worth that 5 percent? I might be over reacting and foreseeing doom and gloom when there’s no need but for me fans are the game; we are the ones that make football special. Players score and run to us; they sing songs in winning dressing rooms that the fans have sung at them; TV games with excited crowds and great atmosphere are always much better to watch. Kill that and you kill the game. Video technology may bring fewer errors but it might bring with it greater problems. The fans may be forgotten. Do that and the game dies.

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Knowing your sport – it’s not just a hobby for a newsreader

TMS window at Lord’s

Reading a very insightful blog about radio news recently there was a reference to sport coverage and that the writer would treat this separately. It’s not unusual to have different rules or advice for covering sport and what we deem ‘normal’ news. However, over the years I have noticed a propensity for news journalists to rather easily dismiss the world of sport. I have often been told ‘I don’t really understand sport’ with the inference they won’t have to worry about it. It’s not with pride they say it but nevertheless they are not shy to admit it.

Imagine though if I said the same thing about politics. Would it be acceptable for me to dismiss every story from Westminster just because I don’t understand or care about it? Of course not. What if I said that about crime stories? My role as a journalist – and particularly one that works in radio – is to embrace all news. That includes everything. So not just current affairs but sport as well. Entertainment often gets treated in the same way. Easily dismissed as gossip rather than news. But big showbiz stories need the same respect as ‘hard news’. Likewise big sport stories.

If you are working in a newsroom where sport will be significant, you need to make even more of an effort to embrace it. When I worked at Fox FM in the 1990s, Formula One was of huge importance because Silverstone was in the area, as were a number of the teams’ headquarters. Often a journalist would join the radio station and know nothing about F1. But it was their job to research it, perhaps watch it and try to understand it. I have always been interested in lots of sport and therefore have had to work harder at getting a grip on some other aspects of news. I would expect the same from journalists who feel more comfortable in the world of politics but have to also include sport in their bulletins.

Radio news can feel very transient as we read a few words and move on. But you still have to understand what you are saying and writing. You can be sure sports fans are more likely to notice (and then tell you via social media) if you say a team name or a player name wrong than people will pick up on someone saying Istanbul’s the capital of Turkey. In the 2018 multi platform newsroom environment it is not just different skills that we need to learn but also a broader subject area. One day you can be leading the news with a prime minister resigning but the next day with a football manager being sacked. News is news – and that includes sport.

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Classy radio that is continually underrated

In radio training a key acronym that I was taught and is still as pertinent two decades later is KISS; keep it simple stupid (or similar versions). The premise is obvious but often the best and most magical moments of radio are when things are kept to their simplest.

Back in October I attended the Arias, where the industry recognises some of that great radio from the past twelve months. Often the winners have just done the simple things well. Often though that is easier said than done. But a show that seems to always miss out on this kind of recognition is talkSPORT’s Hawksbee and Jacobs afternoon programme.

Paul Hawksbee and Andy Jacobs have been presenting on talkSPORT for almost 20 years, with a show that is always funny and engaging. But over the years, the quality of this programme has been disgracefully ignored by radio’s awards ceremonies. To keep making you laugh after all this time deserves great credit to Paul and Andy obviously, but also the various teams that have worked with them. Sometimes a little freshen up has been needed but the fundamentals have stayed the same.

And what does that mean? Well radio works best when you connect and to do that you have to be yourself. Paul and Andy have great chemistry. Like many successful duos in entertainment, their personalities dovetail perfectly. Paul is the quick witted one, while Andy plays the curmudgeon brilliantly (we know he’s not playing). The opening ten minutes of each show are always a giggle.

There is also the right amount of piss taking, bringing me to the much loved ‘clips of the week’ they do every Friday. I’ve written before about how commercial radio can often do things the BBC can’t. And this is a perfect example. Clips of the Week is a selection of newsreader gaffs, sport reporter mistakes and largely Alan Brazil or Mike Parry mispronunciations (Fishermen’s Blues is also a regular nominee). It’s always hilarious. Taking yourself too seriously is sadly an art form at the BBC and many presenters and shows would be better off for having the ability to laugh at yourself.

At the BBC can you imagine a programme collecting on air mess ups by the star names? There’d be a BBC policy paper detailing the outrage and unions would demand respect for the ‘talent’. At talkSPORT it’s received as it should; with the ability to laugh at yourself. It’s a favourite feature of my wife who falls well outside the target audience for the station. In fact she enjoys the whole show. As she put it herself, they don’t always talk about football but when they do it doesn’t have that familiar footy banter feel that can exclude people. The guests are often interestingly different and embrace the show’s style and humour.

And this brings me back to that acronym, KISS. Keeping things simple in radio is imperative, but that doesn’t mean taking no risks or being bland. And simple does not mean avoiding being clever or creative. Just remember not to over complicate and understand the audience and your talents’ best skills. Hawksbee and Jacobs have delivered quality radio based on this for two decades and deserve wider recognition for that. The categories at awards like the Arias (the Sonys as was) does not help but had this been a BBC show you can be sure the plaudits would be queuing up and the awards mounting up!

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Why changing local BBC’s audience targeting might be a mistake


When Tony Hall spoke to staff at BBC local radio recently outlining how the Corporation will change its focus for the stations, there were some encouraging thoughts. Value seemed to be attributed to the network despite previous indications the BBC felt it was just a drain on resources.

A broadening of the audience was established – making BBC local radio for all. A fine idea and not without merit. The commercial sector has increasingly deserted local programming to save money, leaving a gap for the BBC to exploit or community stations to try and fill. There is an audience there and it makes sense to try and serve it.

But the audience I feel it should focus on is the 40 and over; this is the generation that is attuned to traditional radio and constantly ignored by most commercial brands. Widening the remit to younger listeners is a fine intention but hard to get right and harder to achieve. Trying to be something to everyone inevitably ends up being something to no one.

On top of this changing audience and changing content, local BBC stations need to become more of an exhilarating place to work. Not filled with lifetime jobbers and empire builders but younger, hungrier talent that needs to use the platform to hone their skills before a national progression. It is true this does happen at the better local stations (often those in bigger towns or cities with a real ‘identity’) but in many there are people grazing or worse. Too many shows are done by ‘names’ or people that have been there too long.

Tony Hall’s speech is encouraging and there is now a real hope that staff across the local network may feel more valued. The direction it takes though needs to be chosen carefully. There is a growing older audience which would appreciate being served by a strong local radio brand. I think this is where the BBC should spend our money. It should invest in areas the commercial sector will no longer go. I hope it does.

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