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Skills for Tomorrow's Media Report 2001

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Skills for Tomorrow's Media Report 2001 SKILLS FOR TOMORROW’S MEDIA A Summary of the report and recommendations of the Skillset/DCMS Audio Visual Industries Training Group SEPTEMBER 2001 Roger Laughton CBE Chair - Audio-Visual Industries Training Group 002 INTRODUCTION - TOMORROW’S MEDIA In Britain the audio-visual media have emerged from a past where broadcasting, film and print were separate activities funded by separate revenue streams. People at the end of their working lives today have lived through an industrial revolution that has changed forever the ways in which information and entertainment are produced and communicated. Fifty years ago, there were just four radio channels and one television channel in Britain. They were operated by the BBC and paid for by a licence fee levied on every householder who watched television or listened to the radio. The most popular leisure activity was going to the cinema. Film stars, not soap stars, were the household names. There were no video recorders, no tape cassette players, no portable radios, no video discs, no web sites and no computer games. Just two generations ago, today’s world of mass popular entertainment was a science fiction fantasy. Go back one generation. In the 1970s home entertainment, primarily watching BBC1 and ITV, had taken over from the cinema as the dominant leisure activity. A handful of commercial stations had emerged to challenge the BBC’s radio dominance. But the choice of home entertainment remained limited. The heavily regulated world of broadcasting was seen as a public service activity, a ‘comfortable duopoly’, with the BBC funded by compulsory licence fee and ITV by advertising. Those lucky enough to have been awarded an ITV franchise were able to harvest huge revenues from their monopoly of regional advertising. In the 1980s all this began to change. The application of new technologies extended the range of consumer choice. There was lighter-touch regulation for new cable and satellite television services. A third funding stream, subscription, enabled these channels to compete with the established broadcasters for film and sports rights. A boom in consumer expenditure fuelled the rapid expansion of commercial radio. The same boom saw the beginning of a revival in British film, a revival that has been sustained. But it was still an analogue world. Shortage of bandwidth limited the number of audio and video channels and maintained the need for complex regulatory structures. Although the 1990 Broadcasting Act emphasises competition, choice and quality, there is no mention whatsoever of the Internet. Now, in a new millennium, every industry sector has to come to terms with the convergence of distribution and content. There are no limits, save those of the purse and the imagination, to the growth of one-to-one, one-to-many and many-to-many communication and entertainment. Other developments are playing a part too. People are better off and expect to pay directly for entertainment inside and outside the home. Advertising and subscription revenues have risen sharply, and the BBC’s income has kept pace with inflation. Lightweight technology has taken programme making out of the studios into the streets. Content, once created, can be reworked for dozens of different outlets. You can edit a Hollywood movie from a loft in Soho. You can watch a friend’s wedding in Australia as it happens. All this means that the way people work has changed. A new breed of 003 independent television producer appeared in the 1980s, to be followed in the 1990s by a wave of digital content producers. 004 INTRODUCTION - TOMORROW’S MEDIA New sectors, like computer games, are meeting consumer demands for interactive entertainment inside and outside the home. Above all, the arrival of the Internet and the rapid take-up of computers at home and at work has created thousands of jobs with titles nobody had heard of in the twentieth century. Every sector is going through a period of growth or change. The implications of these far-reaching developments for education and training policies and structures are examined in detail in the AVITG’s main report. This short summary provides an overview of the main recommendations. You need to look at the full report to understand why the group reached these recommendations. The industries surveyed are growing faster than the economy as a whole. They are major contributors to the UK’s balance of trade. They promote British creativity and innovation to the rest of the world. The task of AVITG has been to recommend strategies and policies that will enable these industries to make the most of their major asset, the skills of their workforce. I wish to thank members of AVITG for their valuable support and thoughtful advice over the past 18 months. The audio-visual industries are fortunate in the extent to which busy people are willing to give their time to help formulate strategy. In particular, the staff of Skillset, the National Training Organisation, have worked tirelessly towards the goal of producing an up-to-date analysis of the needs and aspirations of the industry sectors they represent. This is a snapshot of a group of industries surfing the wave of industrial change and a strategy to help them ride that wave by investing in the skills of their workforce. Roger Laughton CBE Chair – Audio Visual Industries Training Group 005 006 SKILLS FOR TOMORROW’S MEDIA The Remit of the AVITG MISSION STATEMENT "To investigate and report on the current and future skills required in the audio-visual industries and to recommend the training and education needed to develop these skills, so that the UK can compete effectively in the world media marketplace." TERMS OF REFERENCE In detail, the Skillset/DCMS Audio Visual Industries Training Group will: • seek to establish a common cross-industry methodology for the recording and regular reporting of employment and training information in order to enable effective skills auditing, forecasting and investment analysis; • scope and interpret all existing labour market and skills forecasting information in order to analyse, as far as possible, current and future skills availability and requirements; • seek to identify and describe the current levels of investment in training by industry and government and relate future planned spend to identified needs; • identify the key trends in the development of the audio-visual industries; • report on whether the provision of training and vocational education is equally available to all who wish to enter or work in the industry, irrespective of race, gender, age, disability, sexual orientation and marital status, and encourage the establishment of proper monitoring procedures; • identify obstacles to, and make recommendations on, the implementation of appropriate standards and qualifications across the audio-visual industries; • seek to achieve a more informed and focused partnership between industry and the relevant Government departments. In particular, to explore: - the effectiveness of relationships between the Department for Education and Skills/Department of Trade and Industry/Department for Culture, Media and Sport; - the effectiveness of relationships with the Qualifications Curriculum Authority, National and Local Learning and Skills Councils, Scottish Executive, Welsh Assembly, the Training and Employment Agency and the Regional Development Agencies; - the relevance of vocational education delivered through Further and Higher Education; - current initiatives which seek to achieve an integrated approach to the skills needs of interactive media production; - the appropriateness and relevance of current training and education structures. • report and input findings, as appropriate, to other government initiatives, 007 e.g. National Skills Task Force, Creative Industries Task Force, etc. 008 SKILLS FOR TOMORROW’S MEDIA Summary of the AVITG Report Two things need to be said at the outset. First, there is no single approach to the training and education needs of the disparate group of sectors that comprise the audio-visual industries. Each sector needs to identify its own solutions to its own specific problems. Second, the Group did not recognise a clear demarcation between ‘training’ and ‘education’. Just as the best trainers are often those whose wisdom and experience enable colleagues to learn during the course of their everyday work, so the best educators understand the need to relate theory to practice. In the report, training and education are taken to mean communications that happen in and out of the workplace, inside and outside formal structures. The report sets the audio-visual industries in the context of the fundamental changes brought about by the shift to a knowledge-based global economy. It seeks to report on current investment in training and education, and it identifies the skills gaps and shortages in different industry sectors. The shortage of workers with Information and Communication Technology (ICT) skills remains an issue across all industry sectors. Section C of the full report recommends a plan of action. It starts with the need for better labour market information. The Group then looked at the provision of training and education from school onwards. Society needs industry sectors committed to lifelong learning for all in order to respond to the changing demands of the information age. The Group then identified the roles that the individual, Government, employers, unions and Skillset can play in helping the audio-visual industries tackle this agenda. There are proposals for better networks of advice and support for new entrants and for those already in work. There are also specific recommendations to support the Group’s determination that the audio-visual industries should be more open to all than they are now. The most difficult short-term issue is the shortage of training opportunities for the large numbers of freelance workers on whom industry sectors depend, and the lack of funding for those freelancers who do have access to training. AVITG’s recommendations apply to the audio-visual industries as a whole.
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