Cover Email Tips

IMG_2904When emailing your CV as per the instructions on an advert, please ensure you do a cover email with it. With an average of 40+ applications for most jobs we publish, you need to give yourself the best chance of being considered for the post the employer has advertised. This starts with your cover email.

So, as an employer and viewer of many cover emails over the years, here are my top tips for you to ‘CUT-OUT-&-KEEP’ (as they used to say in Smash Hits…):

* If the name of the person is obvious from the email address you will be sending your email to, start with their name. If not, use ‘Dear Sir/Madam’.

* Keep your cover short and to the point.

* Do NOT just send a CV with a blank email – it will more than likely end up in the trash folder.

* Introduce yourself and your job title then reference where you saw the advert or the mutual contact who told you about the job.

* Using the advert itself as your reference, write a short paragraph or list bullet points mentioning your direct relevant experience.
– example; job requires previous experience with music cue sheets. Your paragraph will include something like,
“working at [x company] I completed the music cue sheets for the series and was responsible for all the delivery paperwork to the broadcaster via Silvermouse”.

* If you consider you have the direct experience required but have not actually been credited in the role you are applying for – list the skills/experience you know the job will entail and ask the employer to consider you. Make it obvious you are looking to step up because you have the correct experience but perhaps not the actual broadcast credit.

* Do NOT tell the employer about your recent ‘Gap Yah’, your kittens or how you won the 5-a-side at the weekend – keep it work focussed.

* Avoid using phrases that will be assumed. I’ve listed some here
– passion for film/tv
– team-player
– I make a great cup of tea!
– happy to do long hours
– cutting edge of tv

* Do NOT try to be funny, address the employer as mate or swear.

* Do NOT paste your CV into the body of the email cover.

* If you are coming to the end of your current contract somewhere, list your availability date and mention any flexibility you may have. Perhaps your current employer has agreed to letting you leave a week early if another job comes along. You never know – the new employer may wait for you to be free as you are the best person for their project!

* Spell check everything you have written, making sure your spell checker is set to British English (programme NOT program, organised NOT organized, licence NOT license, etc).

* Check it all makes sense and you have not spelled anyone’s name incorrectly. I have heard of a cover that mentioned working on a ‘Ripley Scott’ film…

* Check your attached CV is in either a Word or Adobe format. The extension should end with a .doc, .docx or .pdf. Employers prefer Word as they can do phrase searches within your CV.

* Sign off appropriately and formally. Just because it is an email, it is not appropriate to use ‘cheers’, ‘laters’ or a ‘x’ as you close.

supertip #001: Don’t lie on your cover email or your CV. The TV and Film industries are smaller than you imagine and you will eventually be found out. If an employer finds you have lied on your CV, they will wonder what else you are prepared to lie about…

FURTHER READING

CV Writing Tips

Tips for TV Runners

By no means are these tips exhaustive and most of it is probably common sense but just in case you’d like some pointers, please read on.

The list was compiled by contributors to the original  www.tvwatercooler.org forum for people that work in TV. They encompassed Commissioning Editors, Line Producers, Producers, Directors, Production Managers, Assistant Producers, Production Managers, Production Co-ordinators, Production Secretaries, Runners, Editors, Archive Producers & Researchers, Camera Operators, Sound Recordists, Engineers, Data Wranglers and more!

attitude

  1. Always have a nice smile on you. No need for manic grinning though. Just cheery will do.
  2. If you see your fellow Runners working hard and you don’t have anything to do – get stuck in to the tasks too. It will help your chances of future employment to show your willingness.
  3. If sent out with someone senior on a task/recce/shoot and they ask you about yourself – do not tell that person that you want to work in TV because it seems much easier to get into than film or music which are the two great loves in your life. Do not say that TV isn’t something you really like at all, or you really want to be a Presenter and this is just a stepping stone for you.
  4. When you are asked to do a boring job, e.g. help another runner organise the recycling, do not pull a face and say, “You must really hate me”, when all you have been asked to do is flatten and tape together three boxes. In other words, no matter how menial the task, approach with enthusiasm and perform to the best of your abilities.
  5. Ask questions about things you don’t understand and show your interest in the other things that are going on in the office or other departments. If you are particularly interested in something that’s going on that you are not directly involved with, it never hurts to ask if you can go there for a day or so to see what they are doing. It won’t always be possible but sometimes the Producer/PM may try and switch things around a bit so that you can at least shadow for one day.
  6. Usually if something gives you something to do, it will be important and need doing immediately. Do not get distracted from the job in hand. If someone asks you to do something when you are in the middle of a task, explain what you are doing and ask the second person to make the judgement on which is more urgent. If it is not obvious, always ask when tasks should be completed by.
  7. Prepare everything beforehand and organise well. Make sure all your media is properly labelled. Prepare for things to happen in advance of when they are scheduled to.
  8. Don’t be caught out by other peoples mess ups and don’t pass the buck – take ownership. If you take responsibility, people will entrust you with more responsibility.
  9. Never assume anything. Just because you may be diligent and efficient, doesn’t mean everyone else in this world is. So just because you’ve left a message for someone or sent a text/email, don’t assume they picked it up, or did anything about it.

callsheet

  1. This is a document containing all important info about the shoot/record: contacts, maps, Health & Safety, schedule, travel, accommodation, door codes, technical specifications, kit list, props list, talent, catering, car parking space allocation etc… It’s known as a ‘Callsheet’ because it will also contain the time of the day individuals are expected to be at the venue. This is known as a ‘Call Time’.
  2. Have a schedule, get a highlighter or several and really emphasise which bits you need to pay particular attention to – e.g. for compliance recordings on live events to make sure you know which ones you are responsible for.

cash

  1. If you are given a float to buy things on behalf of the production, you will be expected to sign a receipt to prove you were given the cash. Your float should always be same amount you were given and will be a mixture of receipts and cash when you reconcile it.
  2. When you have spent all of the money, you will be expected to produce receipts for all the money that has been spent and return any remaining cash. You must then fill out an Float Advance form. Sometimes this is called an Expenses Form. The purpose of the form is to prove the money spent has been accounted for by attaching the receipts and the Co-ordinator or Manager will then put codes on the form and enter it into the budget as money spent. Always ask your PC/PM to explain exactly how they prefer you to fill out the form as each company will be a bit different.
  3. If they don’t give you a wallet, get your own so it’s separate from your own personal money.
  4. Always get a receipt. Then immediately write on it what the item is if it is not evident. If it’s for food/drinks, write who you got them for or who was at the meal. Your Production Co-ordinator will need to know for the production company records.
  5. Unless specifically told to do so, you are not authorised to buy alcohol/cigarettes on the float as a general rule. There is also no drinking during work hours.
  6. Learn the difference between a credit card slip and a receipt. Your Production Manager and Accountant have no use for a credit card receipt. Always ask for a VAT receipt (not everything will have VAT applicable or every vendor will be registered for VAT but they will tell you when you ask and should be able to give you a till/handwritten receipt of some kind). This is very important because the production company must claim the VAT charge back from the government.
  7. Keep some Petty Cash vouchers on you for the supplier to sign if they can’t give you a receipt or you forget to get one.

catering

  1. Thinking about accessing your Facebook? Think “have I made that nice Producer a cup of coffee /tea today”. If the answer is no, do that first. In fact, get a round in and tidy up the kitchen area while you are about it. If anything is running out milk/teabags/bread, inform whomever in the office needs to restock it. This will usually be the Office Manager or Receptionist. Or it could be you.
  2. Most productions run on coffee and tea, so on your first day, find out how everyone takes their drinks and make a note of it, so when you see your team walking into the office or on location, you can have a drink waiting for them, the way they like it.
  3. Have clean cups & plates washed up before the lunch rush.
  4. If, when on a location shoot, you get sent for bacon sarnies, or other hot food, for the whole team from the local café, go in person on the first day and if you will be shooting in the same place the following day – try to ring the order through on the following day and pick it up. Organise your order in ascending order of seniority so the director / talent / DOP’s food is the hottest and freshest when you get back. That means that yours will be the coldest and soggiest I’m afraid although you’ll earn brownie points for attention to detail.
  5. Always treat the crew well. If you’re on a shoot with camera and sound but no camera assistant look after them both. If it’s a hot studio or sunny day and they are filming handheld actuality, they will both be getting hot, tired and dehydrated so keep them well stocked with water and high-energy snacks. But don’t let them treat you like you’re their bitch – you will have a dozen more duties to attend to as well.
  6. On a busy factual-based shoot, the camera & sound are often worked the hardest so don’t keep them hanging round for lunch & tea breaks either as when the camera’s not rolling nothing much is being achieved. If you’ve helped them out and they are a decent pair, they will put in a good word for you at the end of the day with the powers that be. A happy crew = a happy shoot!
  7. On a big event or studio shoot, check if your Producers and production (Production Manager, Co- ordinator, Secretary) have eaten, as they often have to work through breaks. Perhaps offer to get food put by for them for later.
  8. If looking after gallery or truck staff, ensure drinks always have lids for safety purposes.

comms

  1. On your first day, enter the production office and core team contacts to your phone address book.
  2. Email the current contact list to your personal email so that you can always access it wherever you are via email/web mobile.
  3. Only access Facebook/Twitter/whatever during lunch or when your feet are well and truly under the table. Think six months unless you have specific instruction to do so.
  4. Get into the habit of writing a ‘To Do’ list every day and ticking off your tasks as you do them. At the end of the day, start writing tomorrows list before you leave and copy across everything you didn’t get done today. This will help you to focus on the varied tasks you have been given by the entire team and get you used to prioritising.
  5. Try to remember Producers, Directors and Production Managers will be across a 101 things to with the production at any one time from casting to budget issues, so it may take them a bit longer to reply to an email. Your question about what colour paper they want the script on isn’t at the top of their priority list. Try to write all these questions down and at the end of the day, or when you can see they have a moment, go and speak to them and go through it all at once, instead of sending lots of small emails. One of the key things about being runner is being organised.
  6. If you don’t know which task is more time-sensitive, always ask your Production Co-ordinator or Manager to explain which should come first and why.
  7. If you are asked to do something and you can’t do it / don’t know how to do it / forget – always tell the person who asked you to do it as soon as possible. You have been given that job to do and if you don’t do it, it will still have to be done, so giving someone as much notice as possible to fix it will be your best course of action. Like ball cancer – ignoring it does not make it go away…
  8. Your team will sometimes talk a lot of shorthand and use industry language. Don’t pretend to know what something is or means if you don’t know. No one expects you to know everything. Ask someone to explain it to you at an appropriate moment and don’t be embarrassed – it shows you were taking it all in and you are keen to learn.
  9. NEVER address those older than 30 as ‘mate’.
  10. Learn a trick for remembering people’s names. A quick trick is to look people in the eye, and repeat their name again. People will then look you in the eye and say their name again or agree or nod or something. Let it sink in. And if required use a backup trick to remember is to rhyme something about them with their name – eg ‘smells like a drain – Adrian’. Do NOT do this if they are talent (a presenter) or at channel controller or commissioner level where you should know their bloody name.
  11. Whenever you make a booking (for a car, food – whatever) – double check it’s been received and actioned until whatever it is you’ve arranged actually unfolds before your very eyes.
  12. Always check with the rest of the team that it’s ok for you to leave the office/location/studio before you put your coat on at the end of the day.
  13. You will earn extra brownie points if you check if anyone needs anything doing before you prepare to leave.
  14. Ensure you have a sensible, personal email address. Your name is fine. ‘BigbangersDD@hotmail.com’ is not. Jokey email addresses promote a sense of unprofessionalism.
  15. Always put a subject line on emails that relate to the content. If the content changes – change the subject line, makes it far easier for people to find the email later.
  16. If you are shy and have trouble chatting to the production staff, a good way to get started is, ‘How are you today?’ or ‘How’s it going today’ or similar when you take their food + drink, they like the fact you care and it starts conversation.
  17. NEVER send ANY tape, DVD, hard disk, pen drive etc in snail mail unless specifically told to do so. You will usually need to take it somewhere in person or the Co-ordinator will need to organise a courier for it.
  18. Check the file naming conventions on the network if not evident. When you leave the production, other people will nee to use the information you have left and must be able to find it easily. Never save anything to the C:/ drive or Desktop – always on the production directory.

dress

  1. Dress appropriately for the day. Smart casual in the office is fine. Jeans, trainers, t-shirts all fine. They should be clean, preferably not ripped to show your bangers/nutsack and do not say ‘F**K’ or ‘C*NT’ anywhere on them. No one wants to see your thong/boxers either.
  2. Wear good sturdy sensible shoes that do up properly, not ridiculous sandals that will flap all the way down the corridor as you jog off to get something, and then trip you up when you have three boiling teas in your hands.
  3. On outdoor shoots make sure you have appropriate clothing, TV involves a lot of standing around freezing. Layer up.
  4. When working in entertainment or drama, either in studio or location, it is most practical to wear belted trousers with pockets or some kind of small satchel type affair, as typically you may have the following about your person:

– Dressing room spare keys
– Callsheet
– Guestlist
– Lanyard with essential phone number laminate attached to it
– Leatherman
– Personal mobile
– Pens
– Petty Cash Float
– Production mobile
– Running order
– Script
– Security passes
– Walkie Talkie with headset

editorial

  1. Don’t be afraid to offer input/ideas. Learn when to sit in the corner and keep quiet, and pick your moment carefully to offer your input. Whether it is well received or not will be determined largely by your timing.
  2. Whenever you finish a research task, even if it’s finding phone numbers of local taxi cabs, put the information into a Word file or an email that is clearly labelled and send it to the relevant person. Do not assume the fact you have not been asked for the information, as an excuse to use Facebook until you are asked for it.

hierachy

  1. The commissioner/client/host/actor is not your friend. They don’t know who you are and have little interest in you, unless you are feeding / watering / running out for their fags. It is not appropriate to approach them and ask them for a job/ back to yours. They will most likely not remember you next time you meet, so you should always be prepared to politely introduce yourself, if appropriate, every time you meet them. Of course, one would hope they may remember you from the previous day if you are working on a series…
  2. Observe senior team members/clients when in your vicinity and ensure they are fed and watered and have everything they need. If you are asked to organise something on their behalf, please check with your Production Manager first before you do it.

hours

  1. If you are due to finish at 1800, prepare yourself to stay until 1830 or later. Don’t arrange to meet your mate down the pub at 1810, sometimes work can overflow and to go beyond the call of duty without angst will be expected. Just don’t be rushing for the door on the dot.
  2. You may be required to stay late for which you will be obliged to do. Any weekend work will usually be compensated with paid days off. Often referred to as DOIL (day off in lieu).

loctrav

  1. Always have a tube map & A-Z in your bag / on your phone.
  2. If working in London, remember it is filthy and you will be on public transport for quite a large part of your day, which is full of filth too. In order to minimise catching colds, flu etc… always wash your hands with soap whenever you get to your destination. So get to work in the morning – wash your hands. Get home in the evening – wash your hands and probably your face too. Out on a run during the day? Wash your hands when you get back to the office. Do not touch face, lick fingers etc without hand washing or antibacterial hand gel first.Sounds a bit crazy but seriously you will find it makes a huge difference to how many colds/bouts of man-flu you get during the year.
  3. Always look up how to get to your destination before you leave and check how long it will take you. You can then tell the team where you are going and when you expect to be back.
  4. Ideally print off a route and map before you leave or input the postcode to your GPS if you have it on your phone.
  5. On a shoot keep a call sheet on you at ALL times… . And don’t lose It either! Your Producer won’t take too kindly to being called up by some random OR the document making its way to the Press.
  6. Learn correct radio etiquette and operation. NEVER swing your radio around by the aerial – it costs £250 to replace, which you will be liable for.
    LOCATIONS, Drama
    i. Step up! If the 3rd AD is called off for some reason (phone, toilet etc), fill their shoes. The 1st will appreciate that there’s someone there.
    ii. Keep your eyes peeled! Make sure that you always have eyes on the artists between takes – they have a habit of wandering off, and unfortunately it’s not possible to tie them all to a post.
    iii. Feed the front line! Keep some DECENT biscuits and hot drinks to hand for when the camera/sound guys have a few minutes rest. All too often the good stuff goes and they’re left with 5 packets of Tesco Value Bourbons to nibble on. That doesn’t go down well.
    iv. Communicate! Make sure everyone knows what’s going on at all times. If you’re doing a pick up, let the 2nd AD know if there’s traffic (no matter how bad, it’s always going to be slower than you’d hope). If there’s a scene change or cut, make sure that those around you know.v. Double check! If you’re asked to collect an artist for the next scene, check on your call sheet that you’ve got the right artist (3rds unfortunately, often mis-communicate resulting in red faces all round).
    vi. Courtesy! It’s important not to be big-headed about your job. You may have spent two years at college and three years at uni to get where you are, but you’re still at the bottom of the ladder. Courtesy must also extend to members of the public whom the shoot will often be inconveniencing. Explain nicely what’s actually happening and demonstrate how they may continue to go about their business without disturbing the shoot.

moving_on

  1. The UK TV industry is tiny and you will bump into the same people as you move from company to company. Your reputation is so important and regardless of whom you put as references on your CV, if your potential employer sees a show on your CV, and they know someone from that show, they will more than likely call them for a reference. There are always productions in the pipeline and regularly teams have to be put together at very short notice, this means that PM’s and Producers will go often assemble a team from personal recommendations and people they know.
  2. Network. The most painless way to do this is to go to the pub with your team after work. Particularly good to go when other people within the company will be there that you don’t know. You don’t have to stay for long and you could always just have a soft drink if you preferred. You never know when the person you chatted with about something random might see what your availability is for something else coming up at the company.

phone

  1. Listen to those around you and how they speak on the phone. Always be courteous to whomever is on the other end and speak clearly. Never swear at the caller.
  2. Whatever anyone else says or does, if a member of the public phones the production office about any show, treat them very courteously. That also applies if you are on a location shoot and come across people outside.
  3. Be polite because they are the customers and effectively pay your wages, one way or another. It is not cool or clever to assume you are better or know more just because they are “on the outside” and you are on the “in”.
  4. If the person they caller wants is not available, or not at their desk, you have a number of options:* Can you help with whatever the caller wants?
    * If you can’t help, take a basic message but remember to take their name, number and briefly what it’s about.
    * Suggest the caller emails the person they want. Give their company email address out only.
  5. As a rule, under no circumstances should you give out personal email addresses or mobile numbers. Always take the caller’s numbers /email address and get someone to call them back.

thingsnot

  1. It is not appropriate to sleep with anyone on the team or the crew, particularly, your boss. This often changes the dynamics of a professional team and can make it very difficult for you and your co-workers. You (not your boss) will be the one regarded unfavourably. Also consider that sleeping with your boss and sticking around for awkward pillow talk will probably result in you never working with them again.
  2. Under no circumstances should you come to work wired or pissed. It’s not appropriate. Ever.
  3. Never save the talent’s number in your phone then boast to all of your mates that he/she is your friend. It is likely they will encourage you to call the talent when you’re pissed and this is never a good thing!
  4. UNDER NO CIRCUMSTANCES would it be good to ask the talent to sign your autograph book / broken arm cast / tits or pose for your Facebook pic.

kitlist

Decent, waterproof backpack to keep logs/release forms/petty cash/receipts safe and dry, together with all sorts of useful items, such as:

Bluetac
Cable ties
Chalk
Gaffer tape
Hand towel
Handwash gel
Hazard tape
J-Cloths
Lighter
Multi-tool, with penknife, screwdrivers, scissors etc.
Notepad
Pens/ Pencils
PVC tape
Sellotape
Torch
Wetwipes

PDF Version to download
RUNNER TIPS DOC_nov2011

Media Volunteer

THIS IS A VOLUNTARY POSITION

Set up by ex-TV Producer, Lucy Buck, Child’s i Foundation is a charity based in Kampala, Uganda, that was established in 2008 to tackle the problem of child abandonment. We now work to re-settle abandoned children with families rather than them spending a lifetime languishing in institutions.

We are currently looking for a media volunteer to base themselves in Uganda and produce films about our on-going mission.

Start date: Beginning of August 2014 for a minimum of 3 months (please state your availability and intended length of stay in your application)

Applicants should be:

  • Experienced in the field of producing with a focus on directing/producing (PD/AP/or experienced Researcher)
  • Confident shooting with and ingesting footage from a Sony Z1
  • Have knowledge of basic sound equipment
  • Be highly proficient in using Final Cut Pro 7

No driving licence necessary

Current valid CRB check is desirable

Applicants should be up-to-date with all appropriate vaccinations, especially Yellow Fever. More information about recommended vaccinations can be found here: http://www.nathnac.org/ds/c_pages/country_page_UG.htm.

Housing and per diems are provided.

You will need to fund your own flights and airport transfers, vaccinations and anti-malarials, personal travel insurance, sim card and airtime, personal internet and local travel/excursions.

Please email CVs and covering letter to: media@childsifoundation.org

You can read more about the organisation here: http://www.childsifoundation.org

GEITF: How to be a Better Indie Survey

MGEITF

19th June 2014

Calling all Freelancers!

Do you want your voice heard?

This freelancer survey aims to highlight the best and worst practices in the independent sector and will form part of a major session at this year’s Guardian Edinburgh International TV Festival.

Your views will be discussed in a session entitled How To Be A Better Indie, taking place in Edinburgh on August 22nd and I would encourage you to take this opportunity to have your say and be part of this very important debate.

The deadline for submissions is FRIDAY 27th JUNE, so please return your surveys to us ASAP!

Take the anonymous survey here

We want to know where you enjoy working, which company has the best working conditions and where you feel most valued. Responses will be fielded directly to independent research company SPA Future Thinking, with replies remaining strictly anonymous.

We want to continue to make change within the industry, by exploring how to improve the way independent production companies work with freelancers, but we can only do this with your help!

We look forward to hearing from you!

Yours sincerely,

Lisa Campbell

Festival Director, Edinburgh International Television Festival

 

 

CV Writing Tips

If you are finding it difficult to write your CV for the TV/Film production industry – here are some starting tips of what to include pasted below. Downloadable pdf for your reference attached – TV CV writing tips

TV CV WRITING TIPS

This list is designed as some pointers to get you started and is in no way exhaustive.

Before you start – it is worth considering if it more useful to have a number of CVs for different job roles. Each one must be consistent in style but make easy reading for an employer in whichever industry you are working. E.g. have one as a TV Runner and another as a web designer (although in that specific instance it would be useful to list your html skills in your TV CV).

* Call your CV filename ‘ YOUR NAME – YOUR JOB TITLE – YEAR‘ so that employers can easily find you if they save it in a folder.

* Put your full name, no nicknames. Then your location (rather than your full address, it’s better for posting in social media), email and your mobile at the top (ensure your email address is appropriate and NOT sexgod69@btinternet.com or similar),

* Put your job title at the top near your name. Employers want to know what you do very quickly and will spot it straight away.

* A personal statement should be a short paragraph. 2 or 3 lines on who you are, what you do and your current skills. Genre experience is also helpful. (Learn the difference between what is a genre and what is a technical format…)

* Next do some bullet points of your key skills e.g.
• Fluent French and German language skills
• Confident shooter using [name types of camera]
• Basic FCP / digitizing
• Live Studio & O.B experience
• Archive clearance

* Now list your credits (a ‘credit’ is just something you’ve worked on, and nothing to do with an on-screen credit). Each one should have the same format and should detail the following in bold to be easily scanned by an employer:

List your credits like this, starting with the most recent:
Production Name | Prod. Co. for Broadcaster | 
Your Role
One line is sufficient to describe the programme and include the broadcaster. 2 lines description max.

* If you are relatively junior, you could briefly mention tasks that were delegated to you by a more senior person.

* Keep all your TV work together and list anything else you think could be useful in an ‘other employment’ section after your TV work if you feel this is supportive.

* If you have credits on adverts or promos – list the brands or bands

* Briefly list your education. Bullet points are best.

* Any relevant training should go last right at the bottom and you should list exactly which course you completed and the date. So find out the name and governing body of the course. First Aid, Health & Safety, Hostile Environment courses are as important as technical equipment training.

* You can list your references if you want to. Be sure to ask the person whose details you will be including BEFORE you do this. Also, if you provide them as a reference in an interview, be sure to tell them before the potential employer actually calls them!

*IMPORTANT: In consideration of new GDPR data protection regulations, Talent Managers across the industry are requesting that CVs should include a statement of consent permitting them to continue handling them in the traditional way. Without explicit permission they will not be able to pass on your CV without coming back to you for further consent. Add this or similar text to your footer:

GDPR Statement: This CV may be kept on file and distributed for employment purposes

* Your CV should be around 2 pages long. One page if you are a Runner and no more!

*Check your spelling and grammar. Do not write “drivers license”, it is incorrect. Use these words: “driving licence”.

*Do not combine your student film making experience with your professional work.

*Name your CV . Give it your name and your job title. Do not say you are a Producer or Director or Editor if you are a Runner. If you are a runner, the PM wants to see your running experience, they are not interested in your producing or directing experience.

*Always write something in the email when you send your CV in application for a job. If you can’t be bothered writing to say what job you are applying for and why, they may well not bother opening the attachment!

*Be straight. Be honest. Do not big yourself up; it will not get you the job and you will be found out!

FURTHER READING
http://youdbetterwork.com/creating-the-perfect-cv/

Creating a cover email

Photo Editor

The Role:
The Bloomberg Photo Service is looking for a weekend photo editor to be based on the London picture desk. The role consists of expediting photos for use on all Bloomberg platforms as well as receiving, edting and sending content to clients. In addition to having an excellent understanding of news, the position also requires excellent picture judgment, advanced knowledge and experience with industry standard editing tools and a thorough understanding of journalistic ethics. The position reports to the head of EMEA photos in London and is a contract role based on a 5 day week including Saturday & Sunday.

Responsibilities:
-Supporting internal platforms by fulfilling image requests and photo research for Bloomberg stories.
-Liaising with the TOP editors on photo content for all Bloomberg platforms.
-Prioritizing and updating images according to relevancy on Bloomberg platforms as news updates.
-Editing and processing incoming images to select the most relevant and newsworthy content for internal & external clients.
-Making appropriate editorial decisions on illustrative imagery on Bloomberg platforms.
-Reviewing and correcting image metadata to conform to Bloomberg guidelines.
-Researching accurate information for captions.
-Handling photographer assignment briefs.
-Gaining permissions for use on hand-out imagery & licensing imagery from third party sources.
-Monitoring the content and landing pages of Bloomberg platforms to keep the sites current, ensuring prompt elimination of any technical or content errors, or content that is out of date or no longer functional.
-Monitoring and updating the photo desk diary, assist with forward planning.
-Flag breaking news and upcoming events to assignments editor.
-Stay informed and well read on business, finance and political news.

Qualifications:
-University degree preferred in a related field such as Photography, Journalism or Communications, Digital Media
-Excellent knowledge of image legal restrictions, licensing and permissions.
-Experience in editorial news photography.
-Fully conversant with content image management systems such as Photoshop, Photo Mechanic, ftp transmission, related software, etc. across Mac & PC platforms.
-Skilled at managing, using and creating content for social media platforms.
-Ability to maintain speed, accuracy and efficiency in fast-paced environment.
-Demonstrate strong knowledge of industry style of captioning, writing editorial cutlines for web platforms and IPTC standards.
-Strong working knowledge of global current events especially in business, finance and politics.
-Excellent writing skills, spelling and grammar.
-Foreign languages a plus, especially French, Spanish, German, Russian, Arabic, Italian etc.
-Ability to prioritize heavy workload and meet strict client deadlines in a global environment.
-Excellent verbal communication skills and interpersonal skills.
-Must be highly motivated, reliable, flexible and organized.
-Available for variable shifts

Legal Terms:
Promoting Equal Opportunities

Bloomberg employs over 15,000 employees in over 192 offices around the world. It is a company that is committed to an ongoing policy of attracting, retaining, developing and promoting the most qualified individuals without regard to race, religion, sex, age, sexual orientation or disability. All staff are treated in a non-discriminatory manner in respect of all aspects of employment.

As part of Bloomberg’s ongoing drive for diversity and inclusion Bloomberg works with a variety of organisations to source interns from a variety of backgrounds. These include (from time to time):
– Bangladesh Football Association
– Career Academies
– WORLDwrite
– Kids Company
– ReachOut
– Employability
– Body + Soul
– Rugby Portobello Trust
– Blind in Business

Bloomberg also works with Blind in Business to encourage those who are visually impaired to apply and Bloomberg has joined MyPlus Consulting’s disability champions scheme in order to focus on recruiting and retaining individuals with disabilities. Bloomberg further seeks to identify and address areas of under-representation by running targeted forums which have recently included Women in technology and Black and ethnic minorities. The requirement for these types of forum are reviewed on a regular basis.

Internally in order to promote equal opportunities, numerous soft skill development opportunities are available on Bloomberg University (BU) to all employees. Available courses include mandatory harassment and discrimination awareness training for employees and managers, mandatory interview and hiring training for anyone involved in the recruitment process to ensure that a fair and consistent process is followed, and mandatory grievance training for all members of Bloomberg’s grievance committee. Those chosen to be Team Leaders also undertake a 15 hour ‘Leadership Fundamentals’ course, which specifically covers diversity and inclusion in a team context. These training sessions are further supported by a wealth of policies contained in Bloomberg’s Employee Resource Guide available on Bloomberg’s intranet.

In the course of submitting your application, you will be providing Bloomberg with your personal information. You consent to Bloomberg using that information for the purpose of considering your suitability for employment, as well as for general statistical analysis and reporting purposes, including candidate activity and demographic reports. Bloomberg will process your information in compliance with applicable laws on data protection.

If we do not employ you at this time, you agree that we may retain and use the information that we obtain as part of your application process so as to be able to consider your application later if a suitable position becomes available and, if appropriate, to refer back to this application if you apply again. If at any time you no longer want Bloomberg to consider your application, please let us know at Careers- Feedback, in which case your information will be stored securely for no more than one year from the date of notification and access to it will only be made if and to the extent necessary for legal and regulatory purposes.

Bloomberg is a global company and you therefore consent to Bloomberg processing your information on its servers in the United States of America. Bloomberg is committed to compliance with its privacy obligations and for that reason will apply the Safe Harbor Privacy Policy when processing your information on its US servers. If you are applying for a position outside the EEA and US, you agree that Bloomberg may also process your information on its servers in the country in which the relevant position is located. In processing data either in the US or any other country, employees of Bloomberg will only access your information where necessary:

-to consider your suitability for employment;
-for general statistical analysis and reporting purposes; or
-to comply with legal or regulatory obligations.

Creative Producer

PLEASE DO NOT APPLY IF YOUR SKILLS AND EXPERIENCE DO NOT MEET THE CRITERIA AS YOUR APPLICATION WILL NOT BE CONSIDERED

We are the successful campaign that helps young people make a difference on issues that are important to them. Our specialist production unit [Creative Resources] helps young people get their message across with dramas and factual films, music videos, publications, websites and posters. We have a separate team producing films for broadcast.

We’re looking for a skilled Creative Producerwho can apply their talent across several genres, including video production. They must be able to work easily with young people from all social and cultural backgrounds to develop, guide and ultimately produce effective films and other creative resources that do them credit, and achieve the objectives they desire. The Creative should have some demonstrable skillsin two/three of the following; video production, music production, script-writing, Final Cut Pro, Motion, InDesign, PhotoShop and website creation.

The Creative Producer must be prepared to travel extensively, and regard evenings and weekends as part of their normal work pattern, because this is when young people are often available. They will be entitled to time off in lieu for any additional hours they work. They must be able to work effectively and harmoniously in a creative team, and will be expected to work in other disciplines when necessary, and to provide support or resources to other parts of Fixers.

Producer, Features

Are you able to identify original and creative ideas for food, as well as ideas across a range of lifestyle genres?

Do you possess strong journalistic skills along with sound editorial judgement to ensure the programme maintains its integrity?

If the answer is ‘yes’ we have a fantastic opportunity to join our team on Lorraine as a Producer. We are looking for an experienced Producer who will mainly work overseeing all aspects of the food items on Lorraine, from researching seasonal ingredients and recipes and writing scripts, filming and editing, to securing new chefs for the show. You will also work closely with the rest of the team to source original ideas for Lorraine strands and specials. Lorraine provides a broad mixture of content across current affairs; entertainment news and consumer matters and you will be able to identify original and creative ideas across a range of lifestyle genres. You will be responsible for idea generation and then taking that idea from planning stage to production, helping to create a balanced show.

Ideally you will be a self-shooter with extensive VT filming experience of crafted feature VTs as well as possessing experience of directing single and multi camera location shoots. You will be an excellent communicator with strong journalistic skills and have a positive and flexible approach to your work and perform well under pressure, taking working to tight deadlines in your stride. Experience of having managed and reconciled budgets would also be preferred.

If you are up to the challenge, ITV is a great place to work. If you thrive in a fast paced environment where no two days are the same and you possess the creativity and innovation that will help us achieve our goals, then we’d love to hear from you.

Closing date:1st July 2014