News
Dragonfly named one of Broadcast Best Places to Work 2024
24 January 2024
Dragonfly named one of Broadcast Best Places to Work 2024
Forty-three companies were recognised in the list, which was compiled by the Workforce Research Group consultancy following rigorous surveys of management and workers at each of the companies.
The winners were revealed at a ceremony in central London this morning (Wednesday 24 January).
Dragonfly was named as the Best Place to Work in TV for Work/Life Balance.
The survey asks companies’ management about their firms’ pay and best practices, while employees shared their views on areas such as leadership and planning, training, development and resources, role satisfaction and work environment. Overall and individual company scores were then calculated – weighted in favour of the employees’ responses – and supplied by WRG to Broadcast.
FAST FACTS
No of employees 29
Location London; Manchester (Dragonfly North)
Ownership status Owned by Banijay
KEY SHOWS
Ambulance; Date My Mate; Forced Out; Leigh-Anne: Race, Pop And Power; Surgeons: At The Edge Of Life
KEY PERKS
Weekly drinks and snacks; birthday drinks; invites to award ceremonies; karaoke; bingo; picnics
What makes an employee want to stay at your organisation?
We have created a culture where our employees and freelancers feel valued. We ensure they are given opportunities to develop and grow in their careers, assessing them annually, promoting when we can and paying them fairly. We encourage an open working environment and ensure they are listened to and fully supported.
What strategies have you employed to improve workplace culture?
We have regular feedback sessions, reward people with wrap lunches and assess pay from year to year or production to production. When we are having a successful year, we award discretionary bonuses. If we are nominated for an award, we invite all levels of production. We offer flexibility in working as long as it meets with production demands.
How do you recruit and retain a diverse workforce?
Our vision is to be inclusive, supportive and ethical. We work with Creative Access, Mama Youth, the Grierson Trust and BBC Elevate to make our industry more diverse. We take on regular trainees and, on our large returning series, we access diversity funds to allow people to step up and receive support. We have retained four people from these groups who have progressed with us.
How have you adapted to the tough economic climate?
We have avoided redundancies by giving staff opportunities on productions they may not usually work across. Money is tight but we are still finding ways to connect – office drinks, a summer picnic and regular check-ins. We were able to offer all of our staff on less than £70,000 a cost-of-living payment.