Lights, Camera, Equality: Empowering Women on and off UK Film Sets
The British film industry is in rude creative health. Streaming platforms commission home‑grown series at an unprecedented clip, international productions fill stages from Leavesden to Pinewood, and the UK’s tax incentives rank among the most generous in the world. Yet the spotlight still shines unevenly: women occupy roughly one in four senior technical or creative posts on the biggest features, and fewer than 15 percent of UK blockbusters have a woman behind the camera as director of photography. If we want a screen culture that reflects every audience, the industry must place women at the centre of decision‑making— not just in front of the lens, but in rigging bays, grading suites and boardrooms.
Why responsibility matters
Giving women more authority on set is not a box‑ticking exercise; it is a proven route to better films and healthier working cultures. Mixed‑gender leadership teams consistently produce more diverse storylines, which in turn command broader audiences. Productions run by women are also less likely to incur costly overtime breaches or harassment claims, because inclusive leaders set clearer boundaries and encourage early reporting of safety concerns. Visibility breeds aspiration: when cinematographer Mandy Walker became the first woman to win the British Society of Cinematographers’ feature prize in 2024, applications to the National Film and Television School’s camera courses from female candidates jumped by a third the following intake. In short, responsibility is both a signal and a magnet.
Jobs once ruled by the lads—now opening up
Camera and Steadicam – Pioneers such as Rachel Morrison and Claire Mathon have shown that visual storytelling benefits from fresh perspectives, while technological advances mean hefting a 35‑mm rig is no longer about brute strength. Female focus pullers, drone pilots and Steadicam operators are finally becoming a familiar sight on set.
Grips and Rigging – Hydraulic dollies and modular scaffolding have transformed the physical demands of rigging. Early adopters like key grip Polly Morgan prove that problem‑solving and spatial awareness, not muscle mass, are the real currencies in this department.
Gaffers and Lighting Design – Lighting chiefs such as Nina Kellgren bridge the creative–technical divide, crafting moods that support performance while running crews safely. Their presence widens the pipeline for women aiming to progress into the high‑paying director‑of‑photography roles.
Sound Mixing and Boom Operating – Mary H. Ellis, Oscar‑decorated for her work on Top Gun: Maverick, has normalised the idea that the sound cart can, and should, be as gender‑diverse as the cast it records.
Stunts and Coordination – Former double Eunice Huthart now directs set pieces for billion‑dollar franchises. A female‑led stunt team often fine‑tunes choreography to reduce injury risk and authentically depict women’s strength on screen.
Visual Effects Supervision – Sara Bennett’s Academy Award for Ex Machina smashed the glass ceiling in digital post‑production. As artificial intelligence tools reshape VFX workflows, the field’s traditional gatekeeping is eroding, making room for more women to lead teams of coders and compositors.
These breakthroughs did not happen by accident. Union‑backed boot camps, ScreenSkills’ Trainee Finder scheme and bespoke workshops such as “Grip Her” expose female entrants to kit and protocols early, shattering the myth that certain trades are off‑limits.
The mindset for modern sets
Empowerment is as much about culture as headcount, and progressive crews share a distinctive mindset:
Collaboration over hierarchy – Rigid top‑down structures breed silence. Departments that invite questions during tech rehearsals spot hazards sooner and unlock fresh ideas from junior crew.
Pay transparency – Posting rate cards on the call‑sheet noticeboard prevents unconscious bias and arms newcomers with the facts they need to negotiate.
Visible mentoring – Shadow days, headset sharing and post‑shoot debriefs ensure knowledge flows horizontally as well as vertically, accelerating the learning curve for trainees.
Zero‑tolerance safety culture – Psychological safety is vital for creative risk‑taking. Crews where any member can halt a take for a safety concern, without fear of sabotage, outperform those governed by ego.
Family‑friendly scheduling – Fixing child‑care remains one of the biggest barriers for women. Productions that cluster night shoots, publish call times early and offer job‑share pairings retain talent who might otherwise drift away.
Studios showing the way
Several UK‑based or UK‑active companies have adopted policies that go beyond virtue signalling:
Netflix introduced a 50/50 gender target for creative leadership on European originals and publishes annual inclusion audits for all departments, including construction and visual effects.
BBC Studios caps its mean gender pay gap at five percent and links executive bonuses to progress; it also offers fully paid return‑to‑work schemes for parents out of the workforce for up to three years.
BFI and Film4 require public‑funded projects to sign the BFI Diversity Standards, covering gender, race, disability and socio‑economic background. Compliance is audited before the final payment.
A24—though US‑based—insists at least one head of department on its UK shoots is a woman, and allocates a discretionary stipend for on‑set childcare or elder care.
Working Title operates a “Speak Safe” hotline manned by independent counsellors and has piloted four‑day shooting weeks on selected features to combat burnout.
These studios demonstrate that progressive policies need not dent bottom lines; many report higher staff retention and enhanced brand cachet with audiences who increasingly demand authenticity.
The salary picture: narrowing, but not closed
Official UK data show the gender pay gap across film, TV and video shrinking to about eight percent for full‑time employees in 2024, down from 18 percent a decade earlier. Progress is fastest in scripted drama, where standardised union rates set a floor; the gap stubbornly lingers at higher budget features, where above‑scale negotiation and profit participation deals come into play. The good news is that transparency—publishing median earnings per grade—has become industry standard, spurring self‑correction. Women should still arm themselves with hard numbers: compare recent crew diaries, ask peers what they are paid and use that information to counter low initial offers.
Landing a role quickly: practical strategies
Master the basics – No amount of goodwill offsets poor craft skills. Take the short courses in grip safety, basic electrics or Avid organising; bursaries exist for under‑represented groups.
Leverage targeted schemes – Applications for ScreenSkills’ placements, the BFI’s Creative Step programme and union‑run trainee pools open as early as May. Prepare documents now, including polished CVs and tailored cover letter examples that spotlight transferable skills.
Network with intent – Festivals such as BFI Flare, Encounters and Underwire host craft‑focused mixers. Turn up prepared: carry a concise verbal pitch, listen more than you speak and follow up within twenty‑four hours.
Show, don’t tell – Build a reel that highlights problem‑solving moments, not just pretty frames. A lighting trainee who can explain how she reconfigured a rig in half an hour tells a better story than a glossy montage.
Seek allies – Join groups like Women in Film and Television, Primetime or the union’s equality networks. Mentorship pairings often arise from these spaces and can fast‑track introductions to hiring gaffers or production managers.
Ask for the test day – Many heads of department will invite a prospective crew member to shadow for one shoot day. Treat it like an audition: arrive early, travel light and volunteer for menial but visible tasks, from coffee runs to kit wrangling.
Play the long game – A day of unpaid shadowing can lead to a three‑month contract if you add value. Equally, turning down a gig that clashes with your ethical line—or minimum rate—can earn respect that pays dividends later.
A new take rolling
All change in cinema begins with a revision of the script. Stakeholders across the UK film landscape— from streaming giants to indie collectives— have the power to write women into every episode of the production pipeline, not as token extras but as central protagonists. When more women operate Steadicams, rig trusses, design soundscapes and green‑light slates, the art form itself evolves, reflecting lives and imaginations too long confined to supporting roles.
To future female crew, the message is clear: your skills, vision and leadership are urgently needed. Equip yourself with evidence‑based salary expectations, targeted training and compelling cover letter; then step confidently onto the soundstage. The boom is rolling, the lights are balanced, and the industry’s next blockbuster could well be one that you— and a legion of equally determined women— bring to life.
