Talk us through an average day in your role
My role at Ignite is a hybrid of production management and creative producing. We have offices in London and New Zealand, as well as being part of the wider AE Live Group, so there is a lot of communication and synergy to manage between various teams as we work together on ongoing projects. Each day, we have an internal London office meeting where we run through the current slate, discuss the creative direction of projects, and make sure the team is happy with the targets for that day. There will then be meetings scheduled throughout the day with current and potential future clients, alongside researching creative ideas to assist with current RFPs we are working on with our global team, which can make time zones interesting. Having a role that allows me to be creative, manage a team, and push business development is really satisfying, as there are constant fresh challenges—so no two days are exactly the same.
How did you get started in the media industry?
My dad was a VT engineer, so my childhood was filled with trips to the Scottish Television studios in Glasgow and being surrounded by the TV environment. I spent many hours playing around with the machines while I waited for my dad to finish work. Some of that hands-on experience rubbed off, and I was very lucky that my first role in the industry was a dream one for me—working at Celtic Football Club editing highlights on matchdays. It granted me invaluable hands-on experience of TV production. I took the skills I learnt into the freelance world, and at one OB I was clearing clips from an EVS machine when I stumbled across an ITV Sport boxing feature on Joe Calzaghe that was produced by John McKenna and Gabriel Clarke. Seeing the detail and craft that went into producing that VT gave me the drive and passion to move into creative production. Many years later, John McKenna offered me a job at his production company, Noah Media Group, where I worked for four years.
What training did you have before entering the industry?
As I mentioned above, 100 per cent of my training was hands-on and I learnt on the job. My first production-based role, as an assistant producer at Setanta Sports, was exactly the same—as a production team, we were all new to that area of the industry, so we just learnt from our mistakes and tried to outdo each other when producing creative content. I know media-based courses are very valuable, but having the right attitude is far more important when I’m looking at someone’s CV—being able to work as a team, think creatively, and understand the (at times) unsociable hours is far more important in my opinion.
Why do you enjoy working in the industry?
I love being surrounded by amazingly creative people, and the passion they bring to every project is infectious. Being able to create content that is seen and (hopefully) enjoyed by viewers gives an enormous amount of satisfaction. From a personal level, I have been very lucky to have travelled the world and taken part in the production of the biggest sporting events. Also, every day brings new challenges—there are always new projects that need creative solutions and new opportunities to explore.
What piece of advice would you offer someone looking to explore a role similar to yours?
When starting out, most opportunities arise from showing initiative and a willingness to work. Every project, no matter how small, will give you a chance to learn and grow. Throughout your career, you will work closely with people who have very different skillsets—from editors, DoPs, motion designers, directors—so take the time to gain an understanding of how they work and the systems and tools they use. It will help your working relationships and also expand your knowledge of every aspect of the industry. When it comes to producing creative content, understanding narrative is vital. Learn to craft emotional arcs, be it a 30-second promotional trailer, a minute-long title sequence, or a feature-length documentary. Also, never be too hard on yourself—creativity is subjective. You won’t win every pitch, you won’t get on every project, and there will always be someone who makes a piece of content you wish you had thought of that will make you doubt yourself. Every creative producer feels like this on a near-daily basis, but there will be someone who sees something you create and wishes they had thought of that idea.
