A new ScreenSkills immersive film, premiering today, is designed to inspire the next generation of talent in post-production by putting the spotlight on all the work that has to be done once the cameras stop rolling.
First Day: In Post is a virtual reality experience that aims to introduce viewers to a working post-production studio and break down how the people that work there help bring a film to life.
Made with National Lottery funds awarded by the BFI as part of the Future Film Skills strategy, the new film highlights an array of roles available for those thinking of a career in the screen industries with the longer-term aim of helping address skills shortages in these areas.
This includes roles that shape the final film or programme, from sound and visual effects to adding music and creating subtitles. It shows how skills and talents as varied as budgeting, file management, recruitment, digital and systems knowledge and music are needed.
First Day: In Post is the follow-up to the 12-minute 2020 video, First Day: On Set, that used the same cutting-edge technology to take viewers behind the scenes in film production and was awarded the Production Guild of Great Britain Innovation Award for a Production Team.
Gareth Ellis-Unwin, ScreenSkills’ Head of Film and Animation, said:
“There are skills shortages across a number of post-production roles, often I think because the information about the range of roles available needs reinforcing. This film allows people to get a first-hand taste of that post-production environment, learn about some of the opportunities available and have the door opened to a possible career.”
He added: “The technology has allowed us to make this entire experience available to anyone from wherever they are and gives them a real insight into how what we see on screen gets created. Democracy of access was very important to the entire team.”
Emma Edwards, from Indydink Pictures who produced the new film, said:
“This is designed to be accessible to all learning styles; both youngsters and adults who have the qualities and skills which our industry thrives upon, only they may not have realised it yet! I wanted this film to be their light bulb moment and ignite their journeys to discover our industry and all it has to offer.”
Each scene has graphics overlaid to convey the names and locations of the departments and key people involved in the shoot. They also provide the user with a means of navigating their way through the experience. When prompted, the user can choose which department they wish to visit.
The film is designed to be experienced on Oculus Rift/Go VR headsets but is also accessible online with navigable 360 degree control. This allows viewers to enjoy it as a free VR experience, from the comfort of their own home.First Day: In Post was also supported by Molinare and UK Screen Alliance through development and production. Molinare also provided post-production audio services on the project.
Producer Emma Edwards from InkyDink Pictures and Brad Blackburn, Head of Virtual Production at The Third Floor will join director Jo Southwell for an event on 17 February to discuss the post-production of First Day: In Post. Tickets to the online event are free and are available to book, now.
How the film explains post-production
The film places the viewer in the lobby of a post-production studio where they meet their guide in the shape of a technical operations supervisor. It’s their job to make sure all the technical facilities are running smoothly in the day-to-day operation of the studio.
After the promise of seeing “where the movie magic really happens”, the viewer is shown around the different craft departments. First stop is the edit suite. This is where a picture editor works with a director to take the best footage and put them together to tell a great story. From there it’s over to the central tech area where the tech ops supervisor and deliverables producer are responsible for delivering the completed files in the correct format.
The grading suite is where the overall look of a film or programme is finalised. Colourists and grading assistants work with the director to decide a colour palette and determine the mood of the final image by pulling up or knocking back certain colours.
Just before the film takes viewers to the screening room, there’s time to stop in on the 12-piece orchestra who are creating the soundtrack to put to film, led by a composer and conductor. Finally, it’s showtime and a chance to see the project the post-production team have been working on.
ScreenSkills is the industry-led skills body for the screen industries – film, television (including children’s, unscripted and high-end), VFX, animation and games.
We are supporting continued growth and future innovation across the whole of the UK by investing in the skilled and inclusive workforce who are critical to the global success of the screen sector.
We are supported by industry contributions to our Skills Funds as well as the BFI, awarding National Lottery funds as part of its Future Film Skills strategy, and Arts Council England to help people get into the industry and progress within it.
About the BFI
We are a cultural charity, a National Lottery distributor, and the UK’s lead organisation for film and the moving image.
Our mission is:
- To support creativity and actively seek out the next generation of UK storytellers
- To grow and care for the BFI National Archive, the world’s largest film and television archive
- To offer the widest range of UK and international moving image culture through our programmes and festivals – delivered online and in venue
- To use our knowledge to educate and deepen public appreciation and understanding
- To work with Government and industry to ensure the continued growth of the UK’s screen industries
Founded in 1933, the BFI is a registered charity governed by Royal Charter.
The BFI Board of Governors is chaired by Tim Richards.