AudioMedia - February 2009 - (Page 14)

w h a t ’s u p UK whatsupuk@audiomedia.com The Race To Be A Runner Getting a runner’s job can prove to be a hard-fought race between candidates of education, and those of experience. KEVIN HILTON checks out the tracks, from start to finishing line, to see who’ll take the lead. T here are some jobs that have died out due to time and progress. There are probably very few openings these days for a Saggar Maker’s Bottom Knocker, which you would expect because pottery manufacturing underwent moves to a high degree of automation during the mid to late 20th century. The development of high-speed, secure communications networks has had a similar impact on the position of the runner, the young person haring round the streets of Soho taking tape boxes or reels of film between facilities, all the while hoping he or she would get the big break and become a successful Editor, Dubbing Mixer, Visual Effects Artist, Director, or company boss. But the runner performs many other functions than just ferrying programmes from the production house to the editing suite or dubbing theatre. There’s plenty of competition for getting runners’ jobs, so in January 2008, a group of friends working in the post industry set up a Facebook page to put newcomers in touch with facilities looking for runners. This became Soho Runners, a fulltime recruitment agency in November last year, building on contacts it has made with leading post houses, including Ascent 142, Absolute, Dubbs, and Exposure. Co-founder Spencer Saffer worked for hire companies renting editing equipment to postproduction houses, where the demand for help became apparent. “Contacts would say to us that they needed a runner for a day or so,” he explains. “These days facilities often do not want someone full-time, but even a few days work gets someone starting out valuable experience that they can put on their CV.” For many years, there has been disagreement among educators and employers over whether practical knowledge of a job looks better on CVs than a specific qualification. In the past 30 years, the number of educational establishments offering vocational training and qualifications in media has increased considerably, with commercial companies and facilities also running short-term courses. Hopefuls fresh out of college may think, not unreasonably, that their degree, diploma, or certificate will give them an edge in getting a job over competitors without an official recognition of knowledge. But that can create unrealistic expectations, according to Brian Cantwell, Managing Director of Soho Editors Training. “Some graduates who have made short films come out of university believing they are Steven Spielberg and want to direct their first commercial right away,” he says. Soho Editors is an agency that places experienced and established post professionals in jobs. Their training arm was set up in 2000 to run part-time courses in video editing, primarily on Apple Final Cut Pro, but Adobe systems are also covered. The company has established relationships with Skillset, the UK media industry body for training, and several colleges, as well as having close connections with leading postproduction companies. Cantwell says there is anecdotal evidence from recruiters that finding jobs for people who have no industry knowledge, but instead come from a service background, is easier than placing media school graduates. He also says many people are attracted by the perceived glamour of the TV postproduction and production businesses, but can be disappointed by the reality. “We worked with Skillset’s First Post Wales programme, and brought 20 trainees up to London and showed them all aspects of the work, from the machine room to grading,” he says. “After that, a good 50 percent decided this was not the business they wanted to be in.” Even so, post-production houses receive many e-mailed CVs each week from people looking for that start. Jackie Smith, Head of Post-Production at Evolutions, says these are kept on file, and while a proportion come from recent college and university graduates, the crucial factor is what someone is like as a person. “Quite often a degree does not help someone unless it is in a very specific area that included training on a particular piece of equipment,” she says. Smith’s colleague, Client and Services Manager Jennifer Neal, adds that people skills and determination are key ‘qualifications’ for getting a job as a runner, which can then be applied to a chosen area. Another necessary quality is enthusiasm. Smith observes that for many wanting to get into post-production it is an extension of their hobby, and after they finish working at a facility they go home to play around with their own editing or audio system. Brain Cantwell picks up this point: “People will do a 60-hour week and then spend another 20-hours playing with equipment in the facility because their college does not have those machines.” The post-production sector is particularly susceptible to economic fluctuations, and was shrinking even before the onset of the recession. With more graduates coming out of colleges, and people in general deciding they want to work in film or television, getting that break is becoming more difficult. Matters are not helped by Skillset having to contemplate redundancies in its own staff. The industry itself is taking some initiatives. Post house Envy last year linked up with four universities – Stafford, Bournemouth, Ravensbourne, and Chichester – and will be giving outstanding individuals work experience this coming spring. The best of those will be offered runner positions. Spencer Saffer says he wishes he had had a service like Soho Runners when he was starting out in the music business 20 years ago, and clearly any help aspirants can get is more than useful. But there are usually many variables, and luck can play a considerable part in getting a toehold. One day there may not be a runner’s job at a facility. The next someone could be needed urgently. All we can say to anyone starting out is, good luck. And watch out for cycle couriers around Soho. ∫ 14 AUDIO MEDIA FEBRUARY 2009

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AudioMedia - February 2009 Contents Recording News Post News Broadcast News GEO Focus: USA What's Up UK NAMM Review For the Record Project Profile: Hallelujah HHB CDR882 KORG MR-20005 Chandler Germanium Brauner Phanthera Final Cut: Lesbian Vampire Killers SE Electronics RNR1 The Royal Opera House Fairlight XYNERGI Limiting Loudness Product Sampler: Studio Consoles Video Guide AMSR News Stone Temple Pilots Fly Again Rode M2 Yamaha IM8 Series

AudioMedia - February 2009

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