All posts by Sian Gwilliam

I am a TV Production Consultant. In my downtime I run a group ticketing concierge company called, and write about cultural and educational events.






The first point of contact is Bill Brown, Head of Media Standards, who is responsible for ensuring delivered content meets ITV’s technical delivery standards. Contact or telephone 020 715 66542 or 07917 577 700.


The only acceptable delivery format is an AS-11 UK DPP file.

please refer to Schedule D and ITV Technical Specification for the Delivery of Television Programmes as AS-11 DPP UK files or contact ITV’s Content Operationsteam on



Close Contact cohorts protocol

ITV Covid Guidelines – Close Contact Cohorts and increased screening for COVID-19 – protocol for TV production 13/07/20


It sets out arrangements whereby pairs and/or small groups of people would be able to interact in much closer contact. 

This approach is only appropriate where all other mitigation measures are not feasible, and remains in addition, rather than a replacement for, the rigorous wider risk mitigation and hygiene measures that are set out in the broader guidance.

Risk Mitigation – close contact cohorts (CCCs)

The establishment of close contact cohorts (CCCs) supported by increased screening for this group, through the establishment of routine of PCR testing (hereafter “PCR tests”), may be introduced as a key element of a risk mitigation plan.

Risk Mitigation – weekly testing

The screening regime proposed will decrease the likelihood that someone with the virus will be within the cohort.

This testing would be on a regular basis (weekly) alongside other daily screening routine checks for symptoms etc. 

This approach offers a reasonable and sensible level of risk mitigation but it cannot eliminate risk.

These tests are commonly referred to as polymerase chain reaction (PCR) tests – Suitable consent will need to be sought from the individual to undertake the test.

With current testing provision that will generally mean approximately 48 hours pre-entering set

Risk Mitigation – Social Distancing

CCC members will be asked to adhere to social distancing requirements during the time between their test sample being taken and their arrival on set following their test result in line with the prevailing government guidance in place at the time.

Note; The CCC mirrors the concept of ‘fixed teams’ in the British Film Commission’s Working Safely During COVID-19 in Film and High- end TV Drama Production.

A cohort will be as small a number of people as possible who unavoidably need to be in close contact with each other. 

Info : ITV Producers guidelines

COVID RA Guidance

UK Broadcast Covid Information 

Coronavirus (COVID-19) – Risk Assessment Guidance – Basic requirements

1. Specifically consider people at higher risk of harm 

is anyone ‘clinically vulnerable’? – Do they require a personalised risk assessment ?

2. Heighten precautions for everyone at work

Good practice is to : ‘Wash your hands more frequently and at least for 20 seconds each time. Use soap and water or a hand sanitiser when you: get home or into work, blow your nose, sneeze or cough, eat or handle food’.

A raised temperature is one of the most common signs of developing COVID-19. If you choose to introduce temperature checks.appropriate protocols will need to be developed and due consideration given to any potential data privacy issues.

Check contact details and emergency details are up to date

Ensure production team are up to date on training, and that this is detailed through the RA process

If someone displays symptoms, they should self isolate, or return home from work. They should order a home test. If they don’t have access to the internet, a test can be ordered by calling 119 (in England, Wales and Northern Ireland) or 0300 303 2713 (in Scotland).

What is close contact ?

Close contact is defined in guidance, accurate at the time of this update guidance, as;

● having face-to-face contact with someone (less than 1 metre away)

● spending more than 15 minutes within 2 metres of someone

● travelling in a car or other small vehicle with someone (even on a short journey) or close to them on a plane

Additional requirements in the event of multiple outbreaks in the workplace

If you have more than one case of COVID-19 in the workplace, you should contact your local health protection team to report the suspected outbreak (find your local team through –

3. Reduce the number of people involved

This is a key control to managing the risk and should be considered before a more detailed risk assessment, key considerations should be;

● Minimise workers needed on site to complete the work activity.

● Maximise technology to enable roles and activities to be done from home and remotely wherever possible.

● Segregate people within the working area to minimise close contact and maintain

social distancing as far as possible.

4. Consider editorial ‘on camera’ requirements 

A key risk to consider is how the creative and editorial requirements of the production are met and agreed with Commissioning Networks within the parameters of the current restrictions. Key considerations should be;

Changes to script and scenes to take into account social distancing.

● Changes to set to take into account social distancing.

● Use of ‘green screens’ to ‘down the line’ to support minimising numbers on production.

● Scripts should be provided as early as possible to support with planning.

● Directors and other relevant roles may need to be brought on earlier in the planning and prep for production to establish what is required to deliver the production within the restrictions of managing the COVID-19 risk.

5. Consider mental health and wellbeing

Those having to work from home may experience social isolation while those having to come to a studio or location may be fearful of the risk of becoming infected. It is therefore essential that overall wellbeing and mental health are considered within the risk assessment for production and that those responsible understand the wellbeing needs and requirements of their teams.

The Film and TV Charity is committed to supporting the film and TV workforce in returning to production after COVID-19 and provides many useful resources for production along with support routes for the workforce.

6. Feedback loop

It is important to ensure there that production teams are reporting any shortfalls (and successes/learnings) to ensure the risk assessment process is effective and actively reviewed.

On a production basis it is important to have a clear procedure for raising concerns, you should also consider if an explicit commitment that no one will be sanctioned for refusing to work in an unsafe environment would support people in raising concerns.

Credit : BBC. ITV, Production Guild


Sian is an absolute pleasure to work with. She is fast and efficient. She thinks proactively and is always coming up with new solutions to problems. She cares about her job and has a lovely manner. I have very much enjoyed working with her as we set up this big, new entertainment show”.

– Antonia Hurford Jones (Executive Producer)

Recruitment Privacy Notice

How we use your personal information

We will use the information we have on file about you to communicate with you about the recruitment process, carry out reference checks, or background checks, assess your skills and suitability for the role, and to comply with the projects legal or regulatory requirements.

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You have certain rights in respect of your personal information which include

  • having incomplete or inaccurate personal information rectified
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If you want to review, verify, correct or request erasure of your personal information, please

How long will you use my CV and information for?

We may retain your CV for a period of two (2) years from the end of the year in which we received it. 

Sharing your CV and information

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We also rely on your consent in order to collect and use information about any disability you may have (used to make our recruitment process more accessible to you and for equal opportunity monitoring) or information about your race or ethnicity, religious beliefs and sexual orientation (used for equal opportunity monitoring). Please note you have the right to withdraw your consent to the use of that personal information by contacting us at

ABOUT Sian Gwilliam

I have worked on a variety of broadcast programmes and consultancy projects. These range from long running Primetime Unscripted Studio, Features, Physical & Adventure Game shows, Fact Entertainment, Comedy Panel shows, Quiz Shows, Documentary, Sport OB, Live Music, Live Events, Fixed Rig and Reality shows.

I’ve worked with teams and budgets of all sizes. Working in Sport and Unscripted I have set up and consulted on projects internationally.

I have launched, delivered and managed the International roll out of NBC hit format Game of Games, and Fox hit format Mental Samurai.

International Producers I worked with on the development and production of Game of Games;

Germany | Spain | Portugal | Australia | Thailand | Finland | Sweden |UK | Dubai / Lebanon | Greece | Italy | Belgium | France | China | Canada | Hungary | Latin America | Phillipines | Tunisia

I have spent time consulting on the set up of international hubs in Europe for Producers and 3rd parties.

I’m confident in launching, consulting and running the most difficult of productions both in the UK and internationally.

I have extensive experience in budgeting, scheduling, recruiting and managing teams, overseas filming, multi-cam, live OBs, PSC, OB, UHD, archive, compliance, insurance, H&S, and working with high profile talent and contributors.

I pride myself on my team management skills and always work in a calm and pragmatic manner. I am not daunted by any situation and I possess a friendly manner, which is always key in keeping a handle on all situations. I thrive on the challenge of creating and launching new projects.

I have held senior management roles;

International Consultant (Warner Bros International), Production Consultant (Syco & Shed), Head of Production (Outline Productions), Deputy Head of Production (Shine), Production Executive (Magnum, Olga, Alaska, STV, Studio Ramsey, Second Star, Electric Ray, Aphetor), Production Executive (Endemol), Unit Manager (Initial).

I am dedicated to managing teams to work to tight budgets and creative schedules, maintaining communication between all departments, developing project branding, working with cross-platform departments, and delivering consistent style, design and editorial themes.

Having worked as part of the  the Executive team on Big Brother and together with the formidable team, ran a ground breaking digital multi-platform event. This series was run by a 24/7 production crew, so I understand the importance of communication skills across all team and broadcaster departments.

I have dealt with my fair share of compliance issues and am constantly looking for new ideas and quality in my work and enjoys using my creative skills to ensure that each programme is on budget, gets recommissioned and thrives on teamwork.

I have also worked closely on project managing and consultation appraisals for companies, so can locate where potential problem areas for productions (hopefully). Having started in low Budget television I am confident I can manage any programme despite budgetary or schedule restrictions.

I’ve been key to the teams on these primetime shows (and worked on many pilots and the development of many large scale entertainment projects);

Game of Games (International), Masterchef (BBC2), Big Brother (C4), Celebrity Big Brother (C4), The Bafta Film Awards (ITV/BBC), Fame Academy (BBC), The Paralympics (BBC), The Commonwealth Games (BBC), Bring The Noise (SKY1), House of Tiny Tearaways (BBC3), The Priory (C4), The Simpsons Quiz Show (C4), The Lottery Show (BBC1).

Setting Up Production Hubs


  • I am a positive and creative thinker, I’m fast moving, have good judgement and strong communication skills
  • I have the ability to manage my own time and workload, including being able to adapt to changing priorities and deadlines in a fast-paced environment


  • Running a production hub ensures strategic development of crews and production space, in line with the needs of the market
  • They are key to streamlining production knowledge of formats between Producers and Technical teams
  • They offer a way to secure investment in the production, or fast track a network commission
  • The production incentives landscape is highly active, and countries offer tax incentives for setting up large scale productions


  • Knowledge and latest information of local tax incentives;
  • Knowledge of government relations for production development and infrastructure
  • Knowledge of business practice locally
  • I can advise on the planning of master leases of facilities
  • I have experience / expert knowledge in physical production management
  • I have knowledge of production facilities and service companies and vendors in diff markets
  • I can provide contract management, negotiation skills, business development
  • I have extensive experience and knowledge of production processes across Europe
  • An understanding of COVID-19 restrictions in production spaces and during filming


  • Planning, structuring and delivering project research, analysis, budgets, business plans and recommendations in the form of written deliverables, and client meetings
  • I can assist in the running of client meetings and facilitating project workshops between small stakeholder groups
  • I am continuously learning and and keep up to date on relevant market trends, industry news, and technical tools
  • I can make informed business decisions, and lead with confidence and influence in the context of TV production
  • I have an understanding of the production business environment and the challenges needed to enhance my clients competitive advantage
  • I have a strong network of industry professionals and contacts


  • High-end TV production can offer countries economic impact, employment, work-force, skills and infrastructure development, and benefits such as screen tourism and national branding
  • I can apply knowledge of corporate income taxes, VAT, PAYE, NIC and obligations arising under the Foreign Entertainers Unit (FEU)
  • I can research the best financing plan, whilst looking at local incentives covering up to 25% of eligible expenditure
  • Many countries around the world offer sizeable and refundable R&D Research & Development tax credits where a business is undertaking eligible R&D activities (as prescribed in the relevant tax law of that country)


Image credit : Dominic Jackson – Steadicam Trinity