A new report commissioned by Creative Scotland and Screen Scotland has identified a series of actions needed to address skills gaps across Scotland’s film, television and live performance production workforce and support the continued growth of the sector.
The research, carried out by EKOS, finds that Scotland’s screen and live performance (theatre, live music, etc.) sectors remain a significant growth opportunity but require a strengthened skills strategy, targeted investment and updated training models to fully realise their growth potential.
Key recommendations include prioritising training in areas of future growth, including high-end TV drama production and digital content creation, increasing support for mid-to-senior level crew development, and strengthening engagement between industry and formal education providers.
The report concludes that skills strategy, planning and delivery across the screen and live-performance sectors are most effective when led locally at a nations and regions level, enabling training to respond directly to local production needs. It also recommends that Screen Scotland’s leadership role in skills delivery should be further strengthened, ensuring Scotland can compete in an increasingly global and competitive production market, including through closer collaboration with industry partners.
Steven Little, Head of Production at Screen Scotland said: “This EKOS report makes clear that Scotland’s screen sector is at a pivotal moment. The continued growth of film and television production presents enormous opportunities, but realising that potential depends on having the skilled workforce needed to support it.
“We commissioned this research because the industry needs a clearer, evidence-led understanding of where the skills gaps are emerging and where investment must now be focused. The findings strongly reinforce the need for a coordinated, Scotland-focused approach to workforce development.
“The report highlights the importance of sustained investment across the entire skills pipeline — from practical entry-level training through to the development of experienced and senior crew — alongside more flexible training models that reflect how the industry is evolving.
“Screen Scotland is uniquely placed to lead that work but requires a dedicated role to facilitate better data collection and coordinate activity. Through our direct engagement with productions, industry partners, training providers and freelancers across the sector, we see first-hand both the opportunities and the pressures facing the workforce.
“It also makes a compelling case for greater alignment of skills funding and planning within Scotland across film, TV and live-performance so that training provision can respond more effectively to the specific needs of our sectors and workforce.”
Ben Torrie, Head of Theatre at Creative Scotland said: “This research reinforces the importance of a highly skilled and rigorously trained production workforce to ensuring the ongoing strength and quality of the performing arts sector in Scotland.
“The conclusions of the report, which were informed by contributions from across the screen and live performance industries, highlight the need for holistic investment starting with the school curriculum and extending through the entirety of the career journey. Building increased routes into production roles and providing sufficient support to ensure sustainable working is vital to creating a robust and resilient sector.
“Creative Scotland looks forward to collaborating with partners across the performing arts sector, educational institutions and our colleagues in Screen Scotland to explore the next steps in responding to this report.”
The EKOS report identifies several areas where targeted action could unlock further growth:
- Apprenticeships require reform - for film and TV production as well as across live-performance, where project based, freelance and fast-moving work patterns dominate.
- Increased investment is needed in mid‑ to senior‑level training - particularly in high demand scripted and unscripted roles.
- A more agile workforce is essential - with training that enables crew to move between genres and platforms including broadcast, streaming and direct‑to‑consumer digital platforms such as YouTube.
- Strong leadership in skills planning - required to support Scotland’s ambitions in both screen production and the performing arts, ensuring the country remains competitive internationally.
These findings build on wider evidence showing Scotland’s screen sector has grown rapidly over the past decade, supported by major inward investment, expanding studio infrastructure and the success of returning series such as The Traitors, Vigil, Shetland, Outlander: Blood of My Blood and Netflix’s Dept. Q. Early 2024 production data indicates a strong rebound, with spend on track to reach £400 million this year.
In direct response to the report’s recommendations, Screen Scotland has announced Astar Media as the new delivery partner for Screen NETS, long considered to be Scotland’s flagship training programme for new entrants to film and high-end TV drama (HETV). Former River City Executive Producer Martin McCardie will join Astar as Programme Director for Screen NETS, bringing over two decades of training and talent development experience. He will lead industry engagement. placement strategy and training oversight.
Screen NETS has operated for more than 45 years, providing intensive on-the-job training for new crew-based talent entering the industry. Seven trainees will be offered full time paid traineeships by SCREEN NETS for nine months, working on a range or productions in Scotland to develop well rounded filmmakers who have the skills to work on the range of productions that come to Scotland every year. From high-end television to independent film, they will be equipped to have a future career that can thrive in Scotland. Alumni have worked on productions including Richard Gadd’s BBC One and HBO series Half Man, James McAvoy’s California Schemin’, BBC One’s Shetland, and Apple TV+ and Forge Entertainment’s The Buccaneers.
The full report and technical appendix are available on our website.
More information
Image credits: (l-r) Martin McCardie, Alison Piper and Murdo MacSween from Astar