Outcomes
Where people have gone.
A person, a department, and the production the credit comes from. Destinations rather than percentages: we do not publish a success rate.
Destinations
People who trained here, and where they went.
| Person | Department | Where they went |
|---|---|---|
| Tom Worrall | Sound | On-set sound trainee, Curfew |
| Tom Worrall | Sound | Sound recordist, Dinosaur |
| Tom Worrall | Sound | Boom operator, Time Flies (NFTS), and a placement at a working sound rental house |
| Joe Madigan | Camera | Wake Up Dead Man |
| Joe Madigan, Ateeb Malik, Alana Jade Cooper and Damon Whittaker | Camera and stabilisation | Wolf Hall series two, with Gavin Finney BSC |
| Ateeb Malik | Technical and production | From trainee to a leadership role at Pinewood Studios, and now Technical and Production Lead here |
| Annie Latham | Camera | 2nd AC and camera assistant, including on Hammer: Heroes, Legends and Monsters |
| Nada Aggour | Journalism | Broadcast journalist and social media producer at The Telegraph, and an Aziz Foundation scholar |
| Joshua Clark | Camera and production | From trainee to a paid member of the crew that trained him |
| A camera trainee | Camera | Met the team at an industry event, took a traineeship on a short, and went on to paid camera work |
| A post and VFX trainee | Post and VFX | Produced plates screened on a virtual production stage, and was approached by the facility’s own team |
Names and productions are published only where the person has agreed in writing. Rows without a name are destinations we can evidence and a name we are not free to print.
On the record
What a working 1st AC said, unscripted.
It was a fully professional shoot. The way they handled the equipment, the way they approached the process — I was shocked at their ability level.
Support
Why people at the top of the industry back it.
We need the long-term thinking and investment in the future that this project represents.
More
More voices, on the record.
Annie Latham, camera trainee
“In the two days I was here, I learnt more technical things about camera than I did when I was in uni. This one gave me the technical knowledge and the technical names that I needed.”
Tom Worrall, sound
“Being both the mixer and boom operator that day made me realize that this was something I wanted to pursue, and it allowed me to understand the challenges it could bring.”
In their words
Filmed, cleared, and not written by us.
Camera
Rupert Hornstein ACO
Rupert Hornstein ACO — interview
Camera
Dean Thompson
Dean Thompson — 1st AC, No Time to Die and Belfast — interview
Grip
Malcolm Huse
Malcolm Huse — key grip, Gypsy Grips — interview
Camera
Annie Latham
Camera trainee, on what two days changed.
Annie Latham — 2nd AC, Hammer: Heroes, Legends and Monsters — interview
Trainee
Demi Austen
On the week at Pinewood and what happened after it.
Demi Austen — interview
Not yet published. Each label says what belongs there.
Limits
What we will not claim.
We do not guarantee work, an introduction, a placement or a booking, and nothing here should be read as a rate of success. These are individual destinations, published where the person agreed to it.
I truly believe that the only reason I got these opportunities was because Futures In Film gave me the knowledge of how sets operate and how to handle equipment.
Next
Start where they started. Register, apply when something opens, turn up at seven.
Every row above started as a grade in a list. The Careers A–Z says what the job actually is, the courses say which training reaches it, and this page is what happened after that. Read the three together and it is one path rather than three.