Videographer jobs in London and the south, on site and paid per day
You are in the room, at the venue, on the day, in London, Bristol, Brighton, Reading, Oxford, Southampton or Portsmouth. Live business events filmed on a phone from the angles social media rewards, then cut into 30 second reels, paid per day. This one is not remote.
Last updated 2026-09-09. This role is open until 2027-09-09.
This is for you if
There is no qualification for this and no minimum age. We are looking for somebody who already films things and puts them out, who watches a room and sees the shot, and who would rather be told plainly that a clip did not work than be left guessing. You will be in a room full of paying guests on the day, so the trait that matters most is being easy to have there: quiet, quick, and impossible to notice.
You film things on your phone already and you put them out. We would rather watch thirty seconds you shot at a gig, a match or a family party than read anything you write about yourself.
You can read a room. Knowing when to move, when to hold, and when to get out of the way is most of this job, and it cannot be taught to somebody who is not watching.
You can travel to a venue in the south of England for a full day and start early. The work is the day, and there is no version of it done from home.
What you will actually do
This is the whole job, from the first event. There is no trial period spent on something artificial, because an event happens once and either you got it or nobody did. You arrive with a written brief that says what we need and who it is for, you are told which part of the room is yours, and somebody senior looks at the first hour of your footage on the day before the day gets away from you.
What you will learn
These are the things that transfer to any brand, agency or event company you work for afterwards. Event filming for social is a specific craft and almost nobody is taught it, because the people who own the cameras at events were trained for something else entirely. A handful of event days teaches it faster than a year of editing footage other people shot.
What a social camera does that a professional one does not, which is the single reason beautifully shot event footage keeps failing on social media
How to shoot a full day knowing what the edit needs, so you come home with a hundred usable seconds rather than four hours of nothing
How to work a live room without disturbing it, which is the skill event companies quietly value above every other one and rarely find
Tools you will use
This one is on site, and that is the point
Before anything else: you have to be in the room. Every other internship we run is remote and open worldwide, and this one is the opposite, because a live event happens once, in one place, on one day. If you cannot get to London, Bristol, Brighton, Reading, Oxford, Milton Keynes, Southampton or Portsmouth for a full day, this is the wrong role and the video editor one is probably the right one.
The angles are the whole problem
Almost every business event in this country is filmed properly and used badly. There is a crew at the back with real cameras, real audio and real lighting, and what they produce is genuinely good: wide, steady, well exposed, everybody in frame. It goes into the brochure, the sales page and the highlights film, and it works there.
Then somebody asks that same crew for reels, and the reels do not travel. This happens so consistently that most companies conclude social media is a mystery. It is not a mystery. A professional camera operator is trained to capture the room, so they set up where they can see all of it, which means every shot is taken from the back, at eye height, from a distance. That is the correct answer to the question they were asked and the wrong answer to this one.
Social media is shot from underneath the table, up from the floor, over a shoulder, close enough to see somebody’s face change. It moves, it is vertical, and it is often slightly imperfect in a way that makes it feel like being there rather than watching a recording of it. Nobody is going to retrain a professional videographer to work that way at the same event they are being paid to film properly, and they should not be asked to. So both jobs get done, by different people, at the same time. That second job is this one.
What an event day actually looks like
You arrive before the room fills, because the empty room, the setup and the first arrivals are content and they only exist for twenty minutes. You will have a written brief in your hand naming what we need, who the audience is, and which part of the day is yours. If there are three of you, you are each given a different corner and a different remit, so the same moment comes back from three angles rather than three people crowding the same shot.
Then you film. The speaker, obviously, but the speaker is the least interesting thing you will shoot. The audience leaning forward. Somebody writing furiously. The queue at the coffee. Two people arguing about something in a corridor at the break. A room laughing, filmed from inside the laughter rather than from the back of it. The moments that make a viewer feel they missed something are almost never on the stage.
You are also invisible while you do it. These are paying guests at somebody’s event and the day belongs to them, not to you. You move between rather than during, you never block a view, and you never make somebody self conscious. Being easy to have in the room is not a soft skill here, it is the thing that decides whether you get invited to the next one.
Where the events are
London most often, because that is where the biggest rooms are. After that Bristol and Brighton, then Reading, Oxford, Milton Keynes, Southampton and Portsmouth. They are hotels and conference venues rather than studios, and the day usually starts before most people are awake and finishes when the room empties.
You do not have to live in the city an event is in. You have to be able to get there for the start and stay for the whole thing, which for most people in the south of England means a train and an early alarm. Tell us the town you would travel from and we will only call you for the events that make sense from it.
Filming for the edit, not for the archive
The difference between somebody who has done this and somebody who has not is what they come home with. A beginner films for four hours and has nothing, because they recorded events rather than shots. Somebody who knows the job films for the same four hours and comes back with a hundred seconds they can already see cut together.
That means holding a shot for long enough to use it, which is longer than feels natural. It means getting the same moment twice, wide and close. It means shooting the thing that will open a reel, deliberately, knowing you will need an opening. And it means noticing halfway through the day that you have no shots of one particular thing and going to get some, rather than discovering it at midnight in the edit.
We will teach you this and you will learn it faster here than anywhere else, because the gap between filming and cutting is a day rather than a month. You will see exactly what you failed to get while you can still remember standing there.
The cut
You edit what you shot, into 30 second vertical reels, to a brief that tells you what each one is for. Thirty seconds is not an arbitrary number: it is short enough that somebody finishes it and long enough to make a point, and the whole outcome of a reel is decided in its first two seconds, before most editors have finished their intro.
You do not need to be a colourist and you do not need motion graphics. You need timing, an ear for where a sentence really ends, and the honesty to notice when your own opening is boring. CapCut on a laptop is completely acceptable. The tool has never been the difference.
You will also learn to get many pieces out of one day, which is where nearly all the value in this work sits. One event is eight reels, a set of stories and a carousel if you shot it properly, and one reel if you did not. Companies almost always have less usable footage than they think, and the person who can find more in the same day is the person they keep calling.
Why we are hiring several of you
One person on one camera gives one angle on a room, and a room is not one angle. Two or three people on phones, each with a different instruction, turn a single day into something you could post from for a month. It is also cheaper and better than the alternative, which is asking one very expensive person to be in three places.
So this is not a competition between the people we take on. You will be working alongside one or two others at the same event, deliberately shooting different things, and the reels are stronger for it. If you have done this in a group before, tell us. If you have not, you will find out quickly that it is more enjoyable than working alone.
What you leave with
Paid, published work from real events, which is a rarer thing on a young videographer’s reel than it should be. Most people building a portfolio in this field are shooting favours for friends. You will have days you were booked and paid for, footage that went out on live brand accounts, and the numbers that came back on it.
You will also have the habit that makes an event videographer employable for the rest of their career: arriving with the edit already in mind, working a live room without disturbing it, and handing over files somebody else can actually use. GOSO has worked with 32,000+ brands and grown 120M+ followers over 9+ years, so the accounts these reels go out on are real businesses with customers watching, and the feedback is a number rather than an opinion.
How to apply
Use the form on this page and pick this role. Link one thing you have filmed. It does not need to be an event, it does not need to be for a brand, and it absolutely does not need to be polished. A clip from a night out, a match, a gig or your own account tells us everything we need to know about whether you see shots.
Then write a paragraph telling us what you would shoot at a business event that a professional crew would miss. That paragraph is the part we read most closely, because it is the entire job in one answer. Name the town you would travel from as well, so we know which events to call you for.
Apply for Event Videographer Intern
Six fields. No CV template, no covering letter, no application theatre. Link something you have made, write a paragraph in your own words, and that is the application. The role is already selected below, and you can change it if another one suits you better.
You can email goso@ighelp.info instead, with the subject line "Internship application: Event Videographer Intern".
Questions people ask about the Event Videographer Intern role
Is this remote?
No. This one is worked in the room, at the venue, on the day, and there is no remote version of it. Our other internships are fully remote and open worldwide, so if that is what you are after, look at the video editor, content creator, graphic design or social media manager roles instead. Nobody will think less of you for switching.
Which cities are the events in?
London most often, then Bristol and Brighton, and we also run days in Reading, Oxford, Milton Keynes, Southampton and Portsmouth. They are at hotels and conference venues, and you need to reach one for a full day and start early. We are not asking you to move, and we are not going to pretend a remote version of this exists.
How much do videographer jobs at events in London pay?
Paid videographer jobs at our London events pay around 150 pounds for the event day, agreed with you before you commit to one, and Bristol and Brighton days pay the same. It is paid per event rather than as a monthly salary, because the events are a couple of days a month and neither of us benefits from you sitting around between them.
How many days a month is this?
A couple, sometimes fewer, and they are known well in advance. This is deliberately not a full time job. It suits somebody at college, somebody freelancing, or somebody with weekday work who wants real filming days on their reel and to be paid for them.
Do I need a proper camera?
No, and we would rather you did not bring one. A phone gets angles a rig cannot, it does not intimidate the person you are filming, and it shoots vertical natively. If you own a gimbal, bring it. If you do not, that is genuinely fine.
Do I edit as well, or only film?
Both, and that is the job. Filming with the edit already in your head is the whole difference between a hundred usable seconds and four hours of nothing. You will get a written brief telling you what the reels are for and who is meant to watch them.
Is there a job at the end?
Not a salaried one, and we will not pretend otherwise. What there is, is a place on the roster we call for the rest of the year's events, and the paid, published, real work that goes with it. People who are good on the first day get called for every one after it.
Is this a camera operator job?
It is the phone half of one. A camera operator at an event is set up at the back on a tripod getting the wide, steady, everybody-in-frame shot, and that job still exists and somebody else is doing it. Yours is the moving, close, vertical half that the tripod cannot reach. If camera operator jobs are what you have been searching for, this is the same room and a different brief.
Why hire two or three people for one event?
Because one person can only be in one place, and a room only happens once. Three people on phones covering different corners come back with three angles on the same moment, which is what makes a week of content out of a single day.
Other internships open
Think you would be good at this?
We would rather see one real thing you made than a perfect CV. Send it over with a paragraph in your own words.