![\"Q&A](\"https:\/\/www.productionbase.co.uk\/blog\/wp-content\/uploads\/Blog-QA-Marc-Knighton.png\" "\\"Q&A")
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In this Expert Q&A we talk to Self-shooting Producer\/Director, Marc Knighton, about the importance of getting to know your contributors, keeping up with the latest tech, and the challenges of filming in A&E.<\/strong><\/p>\n How did you get your big break in TV, and what was your first job?<\/strong> With camera technology forever changing, do you feel the need to be up to speed on the latest kit?<\/strong> From early on in your career, you\u2019ve been heavily involved in the edit. How important is it to have a strong understanding of the whole editing process?<\/strong> And does it concern you this trend of having separate producers for the shoot and for the edit?<\/strong> You\u2019ve worked across a variety of genres throughout your career. Which ones do you enjoy most?<\/strong> How important is the contributor\/producer relationship?<\/strong> Is there any production you wish you had worked on?<\/strong> What\u2019s some of the most challenging filming you\u2019ve done?<\/strong> In terms of locations, A&E still remains both one of the toughest but most rewarding environments to film in. It\u2019s such a fine balance capturing the incredible work that the staff do and the bravery of the patients whilst keeping as low key as possible so as to minimise interference. You\u2019re also there at some of life\u2019s most poignant moments \u2013 when someone is saved, when someone dies, and all the stages in-between\u2026for me it\u2019s one of the most humbling environments to film in.<\/p>\n What advice would you give to someone at the start of their TV career?<\/strong> I think another piece of advice would be to try and build your skillset as much as possible. I would look at some job adverts for higher up roles and see what skills they require and try and learn these as soon as you can. Take a self-shooting position \u2013 learning to shoot, light, edit\u2026all these things make you much more employable! Also any chance you get, speak to people doing the work you\u2019d like to do and pick their brains. Most of them won\u2019t bite! I remember the great comedy Producer\/Director, Geoff Posner, let me sit in on one of his edits. Lessons learnt from a day watching his genius in the edit still stick with me today.<\/p>\n Marc Knighton is a Shooting Producer\/Director and a ProductionBase member. You can get in touch with him with via his\u00a0PB Profile<\/a>. If you’d like to be featured in a future Q&A,\u00a0let us know<\/a>!<\/p>\n","protected":false},"excerpt":{"rendered":" In this Expert Q&A we talk to Self-shooting Producer\/Director, Marc Knighton, about the importance of getting to know your contributors, keeping up with the latest tech, and the challenges of filming in A&E. How did you get your big break in TV, and what was your first job? I was fortunate enough to gain a […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"episode_type":"audio","audio_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","footnotes":""},"categories":[192,14],"tags":[517,263,342],"series":[],"class_list":["post-2186","post","type-post","status-publish","format-standard","hentry","category-tv-me","category-word-of-mouth","tag-marc-knighton","tag-producerdirector","tag-shooting-producerdirector"],"episode_featured_image":false,"episode_player_image":"https:\/\/www.productionbase.co.uk\/blog\/wp-content\/uploads\/TOTI-Podcast-Artwork.png","download_link":"","player_link":"","audio_player":false,"episode_data":{"playerMode":"dark","subscribeUrls":[],"rssFeedUrl":"https:\/\/www.productionbase.co.uk\/blog\/feed\/podcast\/turn-on-tune-in-2","embedCode":"
\nI was fortunate enough to gain a place on a BBC graduate scheme, which allowed me to work across a variety of programmes and genres, everything from\u00a0Watchdog<\/em>\u00a0and\u00a0Panorama<\/em>\u00a0through to\u00a0The Hairy Bikers<\/em>\u00a0and\u00a0Children in Need<\/em>. One of the highlights was undoubtedly the\u00a0Ronnie Corbett Christmas Special<\/em>, working with such talented people, both in front of and behind the camera was a real treat, though I think I failed on the tea making front as they all started bringing in thermos flasks with them after a few days\u2026<\/p>\n
\nWithout a shadow of a doubt! Technology has evolved so quickly in the past few years that once you\u2019ve mastered one camera, along comes another. Seven years ago my first camera was the trusty Sony Z1 which used mini DV tapes and most recently, I\u2019ve tried my hand at using Sony\u2019s latest 4K camera. At the end of the day, you have to really know your cameras inside out. This is especially important for self-shooters as using the camera needs to be second nature so that you can concentrate on the characters and action in front of you.<\/p>\n
\nIt\u2019s extremely important. The skills of editing were something I was keen to grasp early on in my career. Just seeing how to structure a story, pacing the different strands as well as understanding the practical sides of shooting, how the shots fit together, what shots are required, assessing the right amount of footage \u2013 I don\u2019t think you can really master producing\/directing until you\u2019ve been in the edit. Ultimately you have to \u201cshoot for the edit\u201d but you need to know what the edit needs before you shoot.<\/p>\n
\nWhilst it makes sense from a scheduling and budgeting point of view, I feel it\u2019s so important to be able to realise your film from start to finish, taking it into the edit and shaping it in line with your original vision. Being in the edit makes you a better, wiser PD and is the best learning curve a self-shooter can get. So yes, I certainly hope opportunities to edit your own work don\u2019t become more limited in the future.<\/p>\n
\nFactual and comedy. I think documentaries are so important, highlighting worlds people may never see, filming thought-provoking characters and stories that often challenge a viewer\u2019s beliefs and opinions. I love coming across new subject matter that isn\u2019t black and white, and tackling it through captivating, human stories. I\u2019ve also always loved working in comedy. There\u2019s nothing quite like letting your mind go wild and coming up with fresh characters and stories, and seeing someone actually laugh at your work (in a good way)!<\/p>\n
\nHaving a strong relationship, built on trust, is all-important, no matter what you\u2019re filming with them. A lot of the work goes in before you ever capture your first shot, particularly on programmes involving longer-term relationships, dealing with sensitive subject matter. Explaining your vision for the programme, outlining what the filming will involve, making them feel part of the production and, above all, getting to know them and allowing them to get to know you is so important, especially as filming can easily go on for many months. If you get this right, contributors will often get on board with the project you\u2019re doing and you\u2019ll make a better film for your efforts.<\/p>\n
\nI think\u00a0The Detectives<\/em>\u00a0on BBC Two was an extremely powerful series, tackling some of the most traumatic content you can film in such a sensitive and sophisticated way. The level of access granted was unprecedented and really allowed the viewer to get such a rare insight into the incredible work of the officers. Everything about the production worked so well – the cinematic camerawork, the creative interview angles, the powerful score \u2013 it all combined to make it a truly captivating and important watch.<\/p>\n
\nEvery project poses it\u2019s own unique challenges so it\u2019s difficult to single out any particular programme. A lot of my work has involved filming people in harrowing circumstances – sexual abuse victims, sufferers of terminal illnesses, families of children who have committed suicide, to name a few. Not the easiest of subject matter but many of them show such bravery going on camera that the onus is on you to do justice to their stories.<\/p>\n
\nMany people I meet who are just starting out seem unsure as to what genre they want to work in. Try and have a plan of action, consider exactly what kind of TV you\u2019d like to make and don\u2019t be afraid to dip your toe in the water \u2013 get some experience in a number of different genres. Write to as many production companies as you can – a strong covering letter, outlining your interest in their shows can work wonders!<\/p>\nQ&A with Shooting Producer\/Director, Marc Knighton<\/a><\/blockquote>