'tis the season to be Jolly! Please come and join us to celebrate Christmas and the New Year with GBCT friends, colleagues and those who have supported the organisation. Free Raffle Free drink on arrival 6th December 2025 New location: The Cleveland Arms 28 Chilworth Street W2 6DT (closest tube: Paddington) Chilworth Street is opposite the Elizabeth Line exit (take lift to street) 6pm 'til 10:45pm RSVP and Register your attendance via the 'Events' tab on the GBCT website RSVP deadline: 15 November 2025

Financial strain for film and TV industry workers In 2023, our Money Matters report  exposed the impact of the U.S. strikes, the cost-of-living crisis, and the production downturn. It also revealed a sobering truth: the financial resilience of film and TV industry workers lagged far behind the wider workforce. 40% of industry workers could cover expenses for no more than one month if they suddenly lost their income – almost double the proportion of the wider UK workforce (22%) Now, we’re back to uncover what’s changed – and what still needs to be addressed. Who should take part We’re asking everyone working in our industry to take part in the only survey uncovering the financial realities of life in film, TV, and cinema. From runners and writers to marketeers and animators – wherever you work in the screen industry, Money Matters is the only research dedicated to understanding the financial wellbeing of those behind the scenes. Share your experiences of financial pressure in film and TV We want to hear from you about Financial resilience and confidence in your economic future  Pensions, savings, and debt  The real pressures of working freelance or full-time, on set or in an office Are these challenges temporary – or signs of something deeper and more systemic? About the survey It is completely anonymous (IP addresses are anonymised upon submission) It will take you around 10 minutes to complete If you require accessibility assistance in completing the survey, please contact research@filmtvcharity.org.uk . We will endeavour to accommodate every request. Your insights will help us to Build a stronger, fairer screen sector Advocate for meaningful and lasting change Shape future support and policy across the industry

Members of the Future Cinematographers Programme (Credit: Kate Darkins) Universal International Studios, a division of Universal Studio Group, has partnered with Hatch Films CIC to launch the Future Cinematographers Programme, a new year-long training course designed for the next generation of directors of photography working in the United Kingdom.  The programme aims to provide participants with a practical understanding of a cinematographer’s on-set responsibilities as well as opportunities for hands-on training, shadow experience and mentorship.  Participants kick off the programme with a four-day intensive workshop in which they receive a comprehensive overview of the role and simulate real-life scenarios on set.  Workshop activities range from preparing second unit production workflows and scene blocking to learning how to navigate set dynamics and communicate effectively with a crew. The inaugural class of Future Cinematographers includes Toufique Ali, Arushi Chugh, Sabina Claici, Ash Connaughton, Joshua Ighodaro, Ricardo McLeary-Campbell, Louise Murphy and Mari Yamamura. “Our partnership with Hatch Films is an extension of UIS’ ongoing commitment to create meaningful opportunities for the next generation of behind-the-camera talent across the UK,” said Rob Howard, executive vice president, Universal International Studios.  “This class of Future Cinematographers has a chance to learn from world-class experts and gain invaluable experience that will prepare them for long-term success in this industry.” The objective of the programme is to “equip emerging cinematographers with the necessary knowledge, skillset and real-life experience to be considered for potential crew opportunities on a future NBCU production shooting in the UK”, said a press release.  Though placements are not guaranteed as part of the programme, participants are eligible to pursue paid work experience on UIS-produced series.  “At Hatch Films, our mission has always been to open doors for emerging talent who are ready to take the next step in their careers,” said Robert Douglas, co-founder, Hatch Films.  “Partnering with Universal International Studios to launch the Future Cinematographers Programme allows us to support a group of cinematographers who are making the leap to head of department, a pivotal and exciting stage in their journey.  “This inaugural cohort is full of talent and ambition, and we’re proud to champion them as they grow into the next generation of cinematographers.” In addition to its collaboration with Hatch Films, UIS also partnered with Directors UK and ScreenSkills through ongoing training schemes to place a director and six below-the-line trainees, respectively, on the set of The Capture , creating additional workforce opportunities for UK-based crew members.

If you’re passionate about your career in film, TV, animation or VFX and you’re unable to develop because of money, bursaries are here for you.  Region UK-wide Age 18+ Career stages Entry, Early, Experienced, Expert A ScreenSkills bursary is a cash grant to remove the obstacles to getting into the screen industries or progressing your career once you’re in. You can apply for money to pay for most things that relate to work and continuing professional development, such as training fees, accommodation, care, disability access costs, equipment, software and travel. Read the  bursary guidelines to understand exactly what's covered. Bursaries are supported by the BFI, awarding National Lottery funds, by industry contributions to the Animation, Children’s TV,  Film, High-end TV and Unscripted Skills Funds.  We aim to offer funding wherever possible, but we cannot promise that all applications will be successful. https://youtu.be/KtQv7TK5pcM

In this 100th episode, we welcome two-time Oscar nominated cinematographer Seamus McGarvey, ASC, BSC . Seamus has shot films including High Fidelity , The Hours , Atonement , The Soloist , We Need to Talk About Kevin , The Avengers , Anna Karenina , Fifty Shades of Grey , Nocturnal Animals , The Accountant , The Greatest Showman , and Die My Love . In our chat, Seamus shares his origin story, about his longtime collaboration with Lynne Ramsey, insights into shooting on 35mm, and about the making of Die My Love . He also offers recommendations for the next generation of creators. Listen Now: https://open.substack.com/pub/themakingof/p/die-my-love-cinematographer-seamus?r=52i3yw&utm_campaign=post&utm_medium=web&showWelcomeOnShare=false

Source: Netflix. ‘Wake Up Dead Man: A Knives Out Mystery’ US streamer spending on European original content increased by 42% in 2024 to hit €8.5bn, according to research by the European Audiovisual Observatory (EAO). The EAO report said Netflix, Disney+ and Amazon Prime Video each spent over €2bn on original European content last year, while Apple TV+ accounted for €600m and HBO Max for €500m . The report spans the wider Europe area, including the UK, but excludes Russia. In total, global streamers accounted for 34% of all spending on European original content excluding news, sport and acquired film and TV shows.   However, the streamer spend is highly concentrated in Europe: the UK and Spain together accounted for 58% of their spend in original European content. The streamers spent €2.9bn in the UK on original content last year and €2bn in Spain. Next up was France and Italy which each saw a spend of €0.8bn, followed by Germany (€0.7bn) and Sweden (€0.3bn). Scripted programming accounted for the lion’s share of global streamer spend, although unscripted programming spend also increased. Among scripted content, series accounted for about 90% of global streamer spend compared to 10% for films. Netflix film  Wake Up Dead Man: A Knives Out Mystery, as well as   Apple’s Slow Horses  and HBO’s  The Walking Dead: Daryl Dixon  are among projects to shoot in Europe last year. The research concluded total spending on European original works by streamers, public and private broadcasters - excluding news, sports rights and acquisitions - amounted to €25.1bn in 2024, up from €22.6bn the year before. Traditional broadcaster spending still accounted for the majority of investment - €16.7bn - in original content, but it is growing at a slower pace than the streamers. Private broadcasters were the biggest investors in European original content in 2024, spending a combined €8.8bn. Public broadcasters together invested €7.9bn in European original content in 2024. The UK recorded the lion’s share of total spend - €7.3bn - followed by Germany (€4.5bn) and France (€3.3bn).

By Mona Tabbara , Screen Daily news 10 September 2025 UK secretary for the government’s Department for Culture, Media and Sport (DCMS) Lisa Nandy has called out the streamers and Banijay for not funding the UK’s burgeoning Creative Industries Standards Authority (CIISA). More support for the exhibition sector and “frustrations” with AI legislation were also key talking points for Nandy’s first culture, media and sport committee grilling after retaining her post in the weekend’s cabinet reshuffle. Nandy took aim at European production and distribution company Banijay and non-specific streamers for not providing the voluntary contribution needed to support the running of the industry-backed body. “I’m having conversations with the streamers, who so far have been very reluctant to sign up to CIISA ,” said Nandy. “I am also genuinely quite appalled at learning from CIISA that Banijay, the production company behind recent headlines [in reference to scandals surrounding the behaviour of Masterchef UK hosts, Gregg Wallace and John Torode], had committed to sign up to CIISA and has not yet signed up to funding. ”If that has changed in the few hours since we’ve been here, I’d be delighted to hear it. But we do take a very dim view of companies that have had these issues, that have been heavily criticised for not having dealt with them, and have not made good on those commitments.” A spokesperon for Banijay told Screen in response: “Banijay UK has made it very clear that it is supportive of CIISA and welcomes the concept of an independent body that sets standards for behaviour and addresses issues in the industry. We’ve embraced their standards framework and have engaged with the secretary of state’s office and officials at DCMS as well as directly with CIISA. “We have offered to help fund CIISA during its development phase and continue to collaborate closely with CIISA. CIISA have insisted that they will only countenance full annualised funding. Together with several other large production groups and studios, we will continue these conversations and look forward to helping develop and define CIISA’s remit.” No organisation is expected to contribute more than 0.1% of annual UK turnover to CIISA. Nandy reiterated that she is not ruling out government intervention if the industry does not financially commit to CIISA. “I’ve had these discussions extensively with CIISA, which we strongly support as a voluntary initiative,” she said. “I have made it clear that if in the future we believe it’s necessary for this to become statutory, that is something that the government is very open to.” Nandy commended the BBC “who have shown a real leadership role in this”. She added that the culture department and CIISA agree that the standards body will “be more effective if we can persuade a wider range of organisations to sign up [to funding]”. AI “frustrations” Nandy rowed back on the government’s previous stance on AI and copyright. The government has embarked on a series of cross-industry consultations and roundtables on the issue of AI and copyright, beginning in December 2024. Its initial preferred option was an opt-out model, in which copyright owners must proactively opt out of their work being used for training AI models. She said: “We’ve learned through that consultation process that having a preferred model was not the right approach, and that is no longer our position. We do not have a preferred option.” In June, the UK’s Data (Use and Access) Bill  passed through parliament , following much pushback in the House of Lords, the UK’s second chamber. The bill was passed without the protections for creatives that key industry figures and their House of Lords backers were hoping to secure. The bill was introduced by the government in October of last year and covers a range of data regulations with an aim to “unlock the secure and effective use of data for the public interest, without adding pressures to the country’s finances”. The sticking point for the creative industries was the fear that it would allow tech companies to train AI on copyrighted material without the consent of the rights holder. The government said it was carrying out additional consultation about copyright. “AI offers enormous opportunities, but it also offers huge threats,” noted Nandy. “The debate has become very binary – you’re either pro-AI, or pro-creative industries. My view has always been that the UK’s great strength, our superpower is the data, the human data, and content produced by the creative industries. If we don’t protect the creative industries, we haven’t got a hope of being an AI superpower. “I don’t think as a government that we did enough collectively, and I take full responsibility for this, to be clear enough about that, and I think we allowed the debate to become very binary. You’re either for creative industries or for AI. “We had deliberately tried to separate out the legislation we were passing in this area from the particular issue of AI and copyright. I don’t think that worked.” She continued, “I haven’t said this before publicly, but one of my great frustrations with that is because it was a DSIT [Department for Science, Innovation and Technology]-led bill, I was not able to be as present in the debate in parliament as my counterpart and friend [DSIT secretary of state] Peter Kyle. It became a debate that was very much about AI, where the creative industries needed to see that their secretary of state was also very visible, and the parliamentary process and the rules didn’t allow for that.” Pressed on when the public can expect to see the results of the AI consultations and roundtables, which has had around 11,500 responses, Nandy refused to commit to a timeframe. “We know it’s urgent,” she said, but avoided questions on whether it could be by the end of this calendar year, or financial year. UK cinema support Nandy also used the platform to throw her weight behind supporting UK cinemas. “We’ve been looking at investment in film infrastructure, and particularly around cinemas, which are often the only cultural institution in many parts of the country… We’re looking at what we can do potentially to ensure that cinemas, and especially independent cinemas, are seen as critical cultural infrastructure and eligible for the funding that other cultural institutions are eligible for.” The UK exhibition sector has been calling for a cut to VAT on cinema tickets, akin to the temporary 5% rate during the pandemic. Currently, admission charges to museums, galleries, art exhibitions and zoos, plus theatrical, musical or choreographic performances ‘of a cultural nature’ qualify for exemption from VAT on admission charges. However, the government appeared to rule out adding cinemas to this list in its response to the CMS committee’s inquiry into British film and high-end TV earlier this year. “VAT reliefs can add complexity and administrative cost to the tax system and create opportunities for non-compliance,” the government said at the time.

Freelance film maker Alister Chapman has worked in film and television for over 35 years, starting in motorsports, including Formula 1 and the World Rally Championship before spending over 20 years making documentaries and producing corporate videos. He has worked on documentaries for National Geographic, the BBC, Discovery and the military. Additionally, he worked for several different news agencies where he would frequently be asked to travel last minute to shoot interviews or news stories in all sorts of locations as a lighting cameraman.  More recently he has worked on Hollywood blockbuster movies. With his knowledge, he became a go-to person for Education seminars and launched the websites  tvcameraman.info  and then  XDCAM-USER.com , filled with guidance, tutorials and reviews on products that he has used. He is a highly regarded Sony Independent Certified Expert and Ambassador. Recently, he developed a series of online videos called  “Lighting 101” which are available to the public. Chapman’s “Lighting 101” tutorials include, “Why Do We Light?”, “The Basics of Three-Point Lighting,” “Hard Light vs. Soft Light,” and “Lighting for Online Content.” In his series of videos, Chapman shows how you can increase or enhance the quality of your filmmaking through the use of a range of different lighting techniques. Why Do We Light? In  “Why do We Light?”   he addresses the need for light, noting that all cameras need light. But lighting isn’t just about having enough light, it’s also about controlling what light there is to enhance the look of your shot.   Click to watch the Tutorial on our YouTube Channel At the simplest level, this might be using a reflector to bounce light back at the subject in a situation where the light from behind is creating too much contrast. Utilizing an actress in a basic scenario, he shows how to light when shooting against a window. He introduces the use of reflectors for bounce, or using a black flag to reduce the light, creating a negative fill. Chapman explains the benefits and necessity of good lighting, even over a better camera or lens, because beautifully lit footage shot with a lesser quality camera will always look better than poorly lit footage shot with a great camera. Choosing the right lights and learning how to use them is key. The Basics of Three-Point Lighting In “The Basics of Three-Point Lighting,” Chapman explains that while it may seem like a very simple old school technique, it’s an easy-to-understand starting point that can be adapted to suit a wide range of situations and delivers consistently good results.  Click to watch the Tutorial on our YouTube Channel The concept of three-point lighting uses three fixtures:  key light, fill light and back light (also known as a rim, or hair, light) . These can be the same three lights, or three different fixtures. In this video, he uses a simple scenario and starts with the key light , which is the main source of light. Some things to consider when setting up the key light is illumination of the subject, framing, and how this interacts with any other major source of light in the scene. The next light is the fill light , which he uses to fill some of the shadows created by the key light. Generally, a hard light or a small soft light is used for the fill light and it’s usually placed on the other side of the camera to the key light. A carefully placed fill light will often create a pleasing glint in an interviewee’s eyes, what is referred to as a catch light.   An alternative to hard light for the fill light that works very well is a tube light like a  PavoTube . The last light added is the backlight , which is used to add separation between the foreground and background. Chapman likes to then turn them all off and bring each one on individually so you can see what each light is doing By learning how to understand the basics of three-point lighting, and how these three lights affect a scene and interact with each other, you can create a wide range of different looks and a solid foundation to build on. Experimenting with light placement and mixing the lights is key.  Hard Light vs Soft Light In “Hard Light vs Soft Light,” Chapman explains the fundamental concepts of video and film lighting and the difference between soft light and hard light. He covers each kind of lighting and how it affects the images you create. Throughout the video, he touches on a range of different lighting fixtures including panel lights, cob (chip on board) lights and lighting modifiers such as soft boxes, diffusion and Fresnel lens. Click to watch the Tutorial on our YouTube Channel In defining the two kinds of light, he explains that hard light leads to crisp, sharp and well-defined shadows where the light transitions rapidly from light to dark and the light creates a hard shadow edge. By contrast, soft light is where the shadows are less distinct, the shadow’s edge is smoother and the light falls away to dark more gently. He addresses how the reflection of light, intensity and contrast, as well as distance between the light source and the subject can produce both hard and soft light.  He demonstrates how a large panel light like the Nanlite   PavoSlim 120C  can produce soft shadows when its relatively close to the subject, but when moved further away the light becomes harder and there is less wraparound effect.  Using the Nanlite   Forza 60C , the  FC-120B  with a reflector, and the  FC-500C  with a Fresnel lens and barn doors, he illustrates how all three of these lights can be hard lights, with or without their attachments.  Then he demonstrates how to turn those same lights into soft lights, using some attachments such as Softboxes or reflectors and how this compares to a panel light such as the PavoSlim 120C. The goal is always experimenting to get the best use out of the lights. Lighting for Online Content Appealing to a broader group of content creators, “Lighting for Online Content” was developed for podcasts, YouTube videos, and other online clips . A fairly typical setup is an influencer who is going to talk about product within a fairly small space, usually with lights already in place. Click to watch the Tutorial on our YouTube Channel Chapman shows how a PavoSlim 120C panel attached to the ceiling can eliminates flicker and poor color temperature while producing a high-quality light. An alternative is using a light stand, which gives a nice flat light directly into the face of the influencer, while allowing the product to be shown on the desk. The idea is to light so you can see the influencer’s face, and the product as these are the two most important things. Once again, Chapman explains how a Forza 60C with a projector lens, and a gobo, can jazz up the background. Referring back to the three-point lighting tutorial, he introduces a back light, as the key light has already been established.  He walks the audience through various ways to light for a two-person interview as well, showing various ways to add texture to the shot with other tools. In this scenario, most television studios will have a key light for each presenter, angled so that the shadows don’t fall directly behind them. Adding to the look for a more visually interesting set, a Nanlite PavoTube is used as an up-light to add wash on the wall behind. Because the PavoTubes are so small, they can be hidden behind chairs or other furniture, and then controlled via remote control. To complete the look, a backlight is set up, which adds a bit of glow and separates the interviewer from the background with the color wash. With various scenarios to choose from, Chapman gives a robust explanation of online content lighting. ▶ EXPO Notice - IBC Show 2025  We are delighted to invite you to join us at IBC 2025, where Alister Chapman will deliver an insightful session at the Nanlite & Nanlux booth. Topic: Portable Lighting for Mobile Documentary Production 📅 Sept 12 | 13:30–14:00, Sept 13 | 11:30–12:00, Sept 14 | 11:30–12:00 📍 Booth No.12.F21 | RAI Amsterdam

Source: Film and TV Charity When Marcus Ryder took over as CEO of The Film and TV Charity in 2023, he noticed a fridge magnet in the office emblazoned with a quote from Nobel prize winning South African bishop Desmond Tutu: ‘There comes a point where we need to just stop pulling people out of the river. We need to go upstream and find out why they’re falling in.’ These words can certainly be applied to the issue of mental health in the UK film and TV industries. In 2019, Ryder’s predecessor Alex Pumfrey launched the Looking Glass survey , research into the mental wellbeing of the UK film and TV workforce. The results revealed the statistic that 87% of those working in the sector had experienced mental health problems. Since then, industry leaders have been trying to ‘go upstream’ (in Tutu’s parlance) to try and understand the issue. There has been further research - the Looking Glass surveys are now published every two years - and programmes are being put in place to improve the working environment by organisations including the Film and TV Charity, 6FT From The Spotlight and Solas Mind. As Ryder points out, mental health issues are not directly related to the boom-and-bust nature of production and can occur at any time. Yet, for freelancers dealing with Covid, the post-pandemic production bonanza and the sudden slowdown during the Hollywood strikes, these have been especially turbulent times. The extent of this problem, especially amongst workers from underrepresented background, was highlighted in June’s The Loneliness In The Film And TV Industry Report , published by the Film and TV Charity in collaboration with The Centre For Loneliness Studies at Sheffield Hallam University. “We all know we have issues around bullying, discrimination and poor management behaviour,” says Ryder. “Often, these aren’t addressed because people think they can tolerate them for the duration of the production.” Another issue facing freelancers is financial stress. The Film and TV Charity’s 2023 Money Matters report revealed that 45% of industry workers were struggling financially; the next report is due out later this year. In response, the Film and TV Charity has pioneered its own Whole Picture Toolkit for embedding mentally healthy working practices early on in a production. On productions following the Toolkit recommendations, the metrics for mental health are already “significantly better.” “People who have a mental health issue will find support within the industry,” observes Matt Longley, co-director and founder of 6FT From The Spotlight , who highlights the fact that little support was available when he set up the nonprofit organization in 2017. “A few of us got together and said we need to do something to change the way the industry works.” Now, 6FT, which provides wellbeing facilitators on sets as well as consultancy and training programmes, is trying hard to work at the “front end” of productions, to identify in advance any problems which may arise. “Just having a counsellor there is not necessarily going to change anything,” he adds. “It’s changing the way the industry works that will give the long-term benefit and actually make it more sustainable and stay in it longer.” “There is still no defined minimum standard for mental health best practice across production’ says Anna Mishcon, head of programme delivery at the Film and TV Charity’s new Mentally Health Productions unit. That’s why she and unit co-founder Andy Glynne, head of programme development, have formed a working group of 35-plus organisations, including the British Film Commission along with broadcasters, studios, streamers, commissioning organisations and other industry bodies, to design an industry set of standards. These are expected to be launched later this year – and already have backing from the studios, streamers and broadcasters.  The Film and TV Charity also aims to ensure that students and new entrants to the industry are fully aware of best practice when it comes to mental health. “We would like to see a world where students are leaving tertiary education and have a greater awareness of the mental health support they can expect when they move into the professional production environment,” says Mishcon. “If we don’t capture that generation, we are missing a vital trick.” Film and TV workers are themselves becoming more proactive in finding the increased support that is available. Mollie, an assistant director and runner, says that she contacted the Film and TV Charity in 2024, when she hit “rock bottom. I can honestly say their support saved not only my career, but probably my life too. It’s an incredibly difficult industry [and] we all have our part to play to make things safe, more accessible, supportive and kinder.” Supporting Role Source: Universal Pictures 'Black Bag' Actress and trained psychotherapist Sarah McCaffrey founded her company Solas Mind in 2020, after realising the strains that freelances were under. “The majority of people working in this industry are contractors,” she notes. “They don’t have the benefits you would get in a big corporate company and yet they work incredibly long hours in a creative but stressful environment.” Solas Mind now has a team of 70 fully qualified coaches and counsellors, and offers a digital platform and a bespoke app for each production. The British Film Commission were able to collaborate with Solas and fund crew counselling sessions for a range of productions, including   Black Bag ,  California Schemin’ ,  Industry ,  War Of The Worlds  and season two of  The Pact . “We can scale up from just offering a really small package of support up to those massive [projects] where a production will have 200 support sessions,” says McCaffrey. “We tailor the support team to suit the content.” Other new initiatives include mental health training for freelancers and managers and making sure even small productions use an HR consultant, so freelancers have an effective sounding board. Ryder also notes the importance of collating more data around physical well-being. “I’ve worked as a director and exec for over 25 years and I don’t know a camera operator who doesn’t have a bad back. I don’t know a boom operator who doesn’t go to physio.” Longley, meanwhile, is optimistic that addressing mental health issues will soon become as commonplace for productions as choosing the right camera lenses: something that is completely “routine.” For McCaffrey, the key to making proper change is to ensure that mental health support becomes a standard part of production planning. “The more we empower people to be compassionate leaders, the better it will be for the industry.” Source: The British Film Commission ' UK in Focus' for Screen Daily

Source: Kevin Williamson (1 AC, A camera), Joe Shrubb (Producer) Working on Code of Silence gave our camera team a new perspective on the unique challenges faced by deaf and hard-of-hearing professionals within the film and television industry. More than just a technical production, this project became a journey of understanding, adaptation, and growth, as we strived to not only highlight these challenges but actively make the set more accessible and inclusive. Before we began filming, our team participated in a day of deaf awareness training. Rose Ayling-Ellis & Kieron Moore This session was incredibly insightful, laying the foundation for how to approach and communicate with deaf and hard-of-hearing individuals on set. We learned the basics of sign language, as well as important dos and don’ts when interacting with people from the deaf community. It wasn’t just about learning the language—it was about understanding the culture, nuances, and etiquette surrounding deafness, which are crucial when trying to create an inclusive environment. The training helped us become more mindful of the challenges that deaf professionals face on a day-to-day basis, and more importantly, it allowed us to communicate with those around us in a respectful and effective way. In a fast-paced, high-pressure set environment, where much of the communication relies on verbal cues, having a solid understanding of sign language and deaf culture was indispensable. It made the entire process smoother and ensured that everyone, regardless of their hearing ability, could work cohesively. One key individual who made the experience so impactful was Rose, our lead on the project. She worked tirelessly to make sure that every member of the crew was onboard with the inclusion efforts. Her leadership in fostering a culture of accessibility and respect was evident throughout production. To keep the atmosphere light and engaging while also facilitating learning, Rose introduced a "sign of the day" for the crew. This fun daily practice not only helped us expand our sign language knowledge but also created a sense of camaraderie and inclusivity on set. Each day, we would learn signs related to our specific work—whether it was related to equipment, action cues, or set-specific terminology—which helped integrate everyone into the environment, regardless of their hearing abilities. Sam E Riley (GBCT), 1st AC, B camera The energy on set was palpable. Sign language, being such a visual and expressive form of communication, brought a unique dynamism to the space. The physicality of the language added an extra layer of vibrancy, and this reflected in the overall atmosphere. Everyone, from the crew to the interpreters, was motivated and enthusiastic, making the challenging nature of the project feel like a shared, collective experience The set itself was a busy place—often cramped, with not only the crew working in tight spaces but also interpreters needing to be on the floor to ensure clear communication. It could get pretty tight in certain moments, but the understanding and respect for the need to accommodate everyone created a sense of unity and patience. While it was a bit of a logistical challenge, everyone made the necessary adjustments to Sammy Johnson (GBCT), 1st AC (Dallies) ensure that both the deaf and hearing members of the crew could work together without issue. The awareness of each other’s space and role on set helped create a positive, supportive environment where everyone could contribute to the project’s success. One of the most unique aspects of the production was the number of scenes that were completely silent, adding another layer of complexity to the technical aspects of filming. In these moments, pulling focus on dialogue—usually a core part of cinematography—was impossible without the presence of an interpreter. For example, the director would rely on the interpreter to ensure that the performers were saying the right things at the right times, and that the pacing of the scene was maintained. This reliance on interpreters in silent scenes was essential, and without them, capturing the correct performance would have been a difficult task. The interpreter’s role extended beyond simply translating spoken language; they became integral to the overall rhythm and flow of the scene, ensuring that the technical aspects like timing and emotional delivery matched the director’s vision. The script supervisor also worked closely with an interpreter, who helped them follow the dialogue and ensure that everything was being said in the right places. This was particularly important for keeping continuity and maintaining the integrity of the story, especially in scenes where precise timing was critical. Perhaps one of the most beautiful aspects of working on Code of Silence was witnessing the interactions between the directors and actors. With sign language as the medium, the conversations felt more considered, more deliberate. The absence of quick verbal exchanges allowed for a deeper, more thoughtful connection between the director and the actors. It was clear that every gesture, every sign, carried weight and meaning. The careful and considered way in which actors communicated with each other and their directors created a deeper sense of authenticity. Watching these interactions unfold on set, it was easy to see how much effort and care went into making sure the performances felt real and true to the experience of the characters. All of these elements—deaf awareness training, Rose’s leadership, the experience of working with interpreters, learning some sign language, and communicating with our deaf trainee— transformed what could have been a challenging set into a truly rewarding experience. While we did face hurdles, such as adjusting to different interpreters and figuring out the best ways to communicate without disturbing the flow of production, the overall sense of inclusivity and collaboration made it all worth it. There’s something incredibly fulfilling about knowing that your work is actively helping to create a more accessible environment for everyone involved. For those of us on the camera team, this project wasn’t just about capturing a story; it was about making sure that every voice on set could be heard, regardless of whether it was spoken or signed. The project pushed us to think outside of our usual technical roles and to see the bigger picture of representation and accessibility. David Barrett (GBCT Trainee) While Code of Silence may have been just one project, it has left a lasting impact on those involved. The experience has sparked important conversations about how to continue proving the accessibility and inclusivity of the film and television industry, and how to make the set environment more welcoming for everyone, regardless of ability. Looking forward, it’s clear that there’s still work to be done—but the lessons we learned on this project have equipped us with the tools and understanding to continue fostering a more inclusive industry. Having the chance to learn some sign language, engage with deaf professionals, and contribute to the creation of a more inclusive workplace has been both challenging and rewarding.

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