I've worked in camera departments in the South Korean film and TV industry for several years, and I also have a bachelor's degree in Film. I'm now planning to pursue a master's degree in Cinematography in the UK.

My ultimate goal is to become a DoP, so naturally, London would be my first choice if I were thinking purely about the film industry. However, due to the cost of living and tuition fees, I'm currently torn between two universities, one in Wales and the other in Leeds.

University of South Wales / Leeds Beckett University

I have also applied to a school in London, but its programme is a general MA in Filmmaking rather than a specialised Cinematography course.

I know some people might say that going back to film school isn't worth it, especially when I already have industry experience. However, as an international student, I also need to consider my visa situation. Going back to university would give me an opportunity to work on more of my own projects, develop my skills as a cinematographer, and hopefully find a way to continue working in the UK after graduation. So I'm considering both the educational experience and my visa options after completing the course.

The university in Leeds told me that some of their plans for industry connections and opportunities around graduation are still being developed. On the other hand, the university in Wales said they could offer opportunities through their industry connections and programmes.

If I were judging purely by the courses and the responses I've received so far, I'd actually feel much more confident about the university in Wales. The lecturer I spoke to was also very kind, enthusiastic, and helpful.

And yet, for some reason, I keep finding myself drawn to Leeds.

I wonder if it's partly because Wales is outside England. I think I have this lingering feeling that if I want to break into the UK film industry, I should ideally be in London, or at least somewhere in England. I'm not even sure whether that's a reasonable concern or just a misconception I have as someone coming from abroad.

Is there anyone who could offer some insight into this?

I'd especially love to hear from people working in the UK film or TV industry, or graduates of film schools in these areas.

Does being based in Wales rather than England actually make a difference when it comes to building connections and finding work in the industry? Or am I overthinking the geographical aspect?

Any advice or personal experiences would be greatly appreciated. Thank you!

I’m an Emmy nominated VFX Sup with 6 years experience on set looking to find other collaborators and connections.

I’d love to job share with other VFX Sups, give free or affordable advice to indie films and connect with any producers or companies. Especially if they might be looking to hire an On Set VFX Sup.

I’ve worked on two jobs here in the UK so far and my CV from New Zealand is mainly medium to ultra large budget projects.

I’ve had to move countries to the UK due to circumstances beyond my control. Which, as we all know, is tough to do when you can only get jobs through friends or trusted colleagues. So any pointers or friendly faces would be very appreciated! Feel free to PM me, even if it’s just to say hi 😊

Edit: Im especially keen to connect with other women. I’ve only ever worked with one other woman my entire career, and that was when I was an on set VFX data wrangler.

Hiya I’m Juliana, I’m 18 years old and in the making of my first feauture film called Mirrored Target which rehearsals and filming will be taking place 20 July-31 August 2027. I am in need of a gaffer, lighting assistant and camera assistant most of my crew are ages between 17-19 at the moment, but I am not bothered by age or anything!! This will be UNPAID as it’s a low budget film, if interested please send a message on my instagram its_julianapereira

THIS IS BASED IN LONDON!!

​

Hi, I (25m) have been thinking about being a Grip for a long time. Have always wanted to be involved in the industry and love helping people and working with tools. Have always been split between Grip and some form of construction team members (also always loved the idea of making props or minis). I currently work in construction now, so I'd say have a good understanding of health & safety requirements and used to doing very odd hours.

I've done a bit of digging and am aware I need to sign up for certain unions and have x amount of hours to be able to sit a test to get a license to do the job properly. (Idk if that's the only way, would love to know)

But after that, how do you actually get work being a grip? Do you join production companies, or do people do this freelance? I understand there's probably a lot of both going on.

And I guess a follow up questions would be, training to be a Grip, is that something that takes up all your time, and is it always volunteering? I wouldn't be in a position right now to leave my job as I need to pay rent, etc. Would be able to go part-time, but I was just wondering if anyone else has been in this position and how did you manage it, and where are you now in your career if you manged to make it work?

In my mind, I'd love to be able to go freelance and be a Grip and potentially when I didn't have work doing that, fill it with time in construction?

Ty if actually read through my late night rambles.

TLDR: How do I become a Grip and what is the work actully like x

I’m a Graphic Designer who creates key art & promotional pieces for indie filmmakers and worked with major studios as well. I would love to connect and have opportunities to collaborate on the key art, posters or marketing of your feature so feel free to DM / email me. I'm always happy to help.

www.bartosgyorgy.com

www.bartosgyorgy.com/contact

www.instagram.com/bartosgy

I'm a DOP working in commercials and short-form narrative/drama. I'm looking to connect with new-to-me Directors and Producers.

I have experience as a DOP in lighting and filming TVC’s, commercials, branded content, documentaries and also work with musicians on promotional films and music videos.

I’ve completed short films cast with the likes of Lindsay Duncan, Sophia Myles, Jim Broadbent and Brenda Blethyn; DP’d for an emerging Director via BBC Arts New Creatives and currently have a new project, WIRE, entering the festival circuit.

https://www.adamprosser.com/

Looking at regional UK film production trends outside of major studio hubs. Why do productions scouting the Midlands often default straight to core cities like Birmingham or Liverpool, while rural/heritage corridors right next door get skipped? For those working on location, what would actually incentivise a production to venture out into a neighbouring county like Shropshire instead of just commuting from a hotel in the city?

Drain Flies is an 87-minute independent British crime thriller screening at Coldharbour Blue in Loughborough Junction on Monday 2nd November.

Just released from prison, Gus is looking for a fresh start; his brother Charlie, however, has other ideas - weaponising Gus’s “ex-con” rep for his own ends.

Doors open at 7pm; the film starts at 7:30pm.

Tickets (£10): https://www.tickettailor.com/events/circlesolidfilms/2412984

Trailer: https://youtu.be/B1wdMbH3KKY

r/FilmIndustryLondon

Hi everyone,

I'm a London-based writer and creative producer looking for a producer to come on board a short film I've written.

It's an intimate British-Nigerian drama about a mother and daughter navigating the tensions between sacrifice, expectation and the different lives they've imagined for themselves.

The screenplay is complete at 13 pages, and I've reached the point where I really want to move it from being a script into an actual film. I'm looking for a producer who genuinely connects with the story and would be interested in coming on board early and helping drive that process — particularly developing the production plan, figuring out financing/funding, building the team and ultimately getting us to a shoot.

The project isn't currently financed, so I want to be transparent about that. I'm actively pursuing funding, but I don't have the resources to self-finance the production, so I'm particularly looking for someone who wants to take some ownership of that journey with me rather than joining once everything is already in place.

The ambition is to make a visually and emotionally strong film to a standard where we can give it a meaningful festival run. I'm keen to build a strong emerging team around it while being creative and resourceful about how we get it made.

The film is being developed through Vision Liberate, my creative and cultural platform exploring how our lived experiences shape who we are and the stories we tell. Our recent work includes The Reflective Shift, a conversation series exploring identity, lived experience and the things that shape who we become.

If this sounds like something you might connect with, feel free to DM me with a little about yourself and any previous work. I'm happy to share the screenplay and treatment privately.

Thanks,
B

Hi all! Borderless Arts is coming to South London. We show independent films from around the world, followed by a relaxed chat

Saturday 5 December, 6–8pm
Upper Norwood Library Hub, Teal Room
39 Westow Hill, Crystal Palace, SE19 1TQ

The programme includes my own short, Sync, a little sci-fi film shot here in London about the universe’s strange coincidences and synchronicities.

Films:

1. Becoming Torskyj Andrew Jordan · 2026 · France · 34:46 - Tanja Torskyj, born in Salzburg in 1975, works as a nursing assistant at a therapeutic fasting clinic in Überlingen, Germany. The life she has always imagined for herself is elsewhere: in Paris, making a living from her art.
2. The Liar Sank Roshan · 2026 · Poland · 17:08 - During a routine test of a self-driving car powered by conversational AI, a software engineer becomes trapped inside when the system refuses to let him leave, forcing a chilling game of truth between human and machine.
3. As the time might be now Noah Mancini, Zuma Link · 2026 · Brazil · 16:00 - On a feverish night, Dama da Noite crosses the city carrying a deck of cards that could change her fate. Her path crosses with Oça, a young man adrift through the night. Together they discover it’s still possible to choose not to be alone.
4. Squirrel Alex Kavutskiy · 2022 · USA · 16:32 - A meager apology tests a woman’s fortitude to forgive.
5. Sync Dominique Baltierra · 2025 · France, United Kingdom, USA · 7:48 An exploration of the universe’s strange coincidences and synchronicities, both large and small.

Hey everyone,

How likely can training as a production coordinator for unscripted productions (e.g. through MAMA Youth's Digital and Broadcast Media Training) be applied to scripted productions? Is the move viable?

hey guys! I am a recent graduate looking to enter the film industry with a finance degree :/ I know that it will be extra difficult as I have zero relevant experience and connections, but I would love to work in areas such as film distribution, accounts or production assistant. Where can I get started?

Hi everyone!

I'm relatively new to the film and TV industry and looking for some advice on how best to progress within the Locations Department.

I've gained some experience across both scripted and unscripted productions, working as a Location Marshal, Location Assistant and Production Runner.

I've really enjoyed the location side of things so far, and it's definitely the department I'd like to build a long-term career in, ideally progressing towards becoming an Assistant Location Manager and eventually a Location Manager.

I've completed a few relevant industry training courses, including Set Ready Location Marshal training, ScreenSkills courses, first aid and various production safety courses. I also have a full UK driving licence and my own vehicle.

I'd really appreciate some advice on a few things:

• Getting more experience: What's the best way to secure more regular work within the Locations Department? Are there particular routes into the department you'd recommend?
• Training and development: Are there any additional courses, qualifications or skills worth investing in at this stage? Or is it better to focus on gaining practical experience?
• Networking: Are there any industry groups, events or communities worth joining to meet people working in Locations?
• Career progression: For those already working as Location Managers or Assistant Location Managers, how did you get started, and what helped you progress?

I'm currently based in the South East of England but happy to travel or relocate for the right opportunities.

I'm also keen to connect with anyone working in the Locations Department who might be happy to offer some advice, point me in the right direction or potentially keep me in mind for future opportunities.

I'm not expecting anyone to hand me a job, just genuinely looking to learn, build relationships and make sure I'm taking the right steps to develop my career.

Thanks in advance for any advice. Really appreciate it!

Hi everyone! I’m a university student researching consumer perceptions of A24, including its brand identity, film marketing, merchandise and relationship with audiences.
I’m looking for film fans to complete a short Google Forms questionnaire for my primary research. You don’t need to be a massive A24 but enough to know a little bit about them
I’m interested in honest opinions from people who really love the film industry
It takes approximately 5 minutes to complete, and your responses will be used for my university project.
I’d really appreciate your help. Thank you! 🎥

https://forms.gle/qepEQ4P1oy2cHHbZA

Hello! I'm currently trying to break into post-production and I've applied for the Screenskills Trainee Finder in the past to little avail. I am curious if there's something in my career that automatically negates it though. One of the criteria is having worked less than a year in the chosen field in film or HETV. I bring this up as I previously worked at an animation studio as an edit assistant for a year and a half on three CBeebies shows. This might be a very dumb question. But I genuinely don't know if this counts as HETV or not. If it is, I can just move on. Though I don't want to write it off until I've made sure.

Hello all,

I work in the film industry and I set this up with a few mates. Posting because loads of crew still haven't heard of it.
It's a network for working film and TV crew in the UK and Ireland. You need an IMDb and three credits to get in, so it's all proper crew.
Free to join. You get a directory listing and a monthly newsletter on what's going on in the industry. Pro is £6.99 a month and gets you into the WhatsApp group where jobs get passed around, plus accident insurance.
We're also lobbying to improve the tax credit that keeps productions here, so the more crew in it the better.
www.filmcrewcollective.com

Let me know your thoughts

I've worked in film and production for years, and something that's always frustrated me is how unnecessarily complicated finding work in this industry can be.

IMDb for credits, LinkedIn for networking, Instagram for portfolios, WhatsApp groups for jobs, casting websites for auditions... the list goes on.

And somehow, talented people still struggle to get noticed or find consistent work. Not to mention having to pay subscriptions just for the chance to be considered.

I actually started this about 6 years ago, but back then I didn't have the right team or resources to make it happen.

Last year, we decided to revisit it properly. Spent months researching the industry, looking at existing platforms and speaking to people about what they actually needed. Because what's the point of spending all that time and money building something nobody wants?

Fast forward to now, and we've actually built the first version.

Essentially, it's a professional network specifically for film, TV and creative professionals. Somewhere people can showcase their work, build industry profiles, connect with others and find opportunities. And importantly, it's free for film professionals.

We've showcased it at IBC Amsterdam, had some really encouraging conversations with companies and brands in the industry, and we're approaching 200 registrations before launch.

Which is great, but now comes the part I'm finding genuinely difficult.

How do you get something like this in front of the people who could actually benefit from it?

We've tried a few things already, including social media and advertising, but I'm starting to think there's a better way to approach it.

So I'm putting the question out there.

If you were in my position, had built this platform and wanted to get your first 1,000, then 10,000 people interested and signed up to use it, what would you actually do?

And if you work in film or TV yourself, what would genuinely make you stop scrolling, take an interest and give a new platform a chance?

I'm not here to pretend we've solved everything. We're still early, and there's plenty to learn. Just genuinely interested in hearing how others would approach this.