Gold Circle Media is a Bristol-based Podcast Production Company. Founded by award-winning Producer/Director Carina Thomas, we bring over a decade of experience in high-end television and large-scale productions to the world of podcasting. Driven by a passion for storytelling and excellence, we give a platform to diverse stories and unique perspectives, ensuring every voice is heard.BESPOKE PODCAST PRODUCTION Our bespoke podcast production is defined by a personalised approach that ensures every detail is handled with care. From minor tweaks to full-scale productions, we’ve got you covered, no matter the size of your project. Whether you need help with remote recording, audio cleaning, or end-to-end podcast production, our passionate team is here to help you create engaging content that resonates with your audience.• Podcast Production & Editing• Guest Booking & Content Development• SEO & Graphic Design Tools.• Logistics & Project Management.

As Podcast Producer for The TV Collective, I utilise the podcast to drive engagement, grow membership, and champion outreach initiatives to amplify diverse voices. I have extensive experience in managing logistics for podcast recordings, from scheduling and venue booking to coordinating equipment and guest arrangements.• Podcast Production: Lead on scripting, contributor communications, bookings, recording, editing, and delivering podcasts on time and within budget, ensuring high-quality content.• Social Media Strategy: Develop and implement SEO principles to create targeted social media strategy that promotes podcast episodes and engage with a wider audience.• Marketing Support: Collaborate on marketing initiatives, creating compelling content to increase visibility and drive membership growth.• Virtual Podcast Support: Provided technical support for virtual recordings, ensuring seamless operations and troubleshooting issues for international guests.

An activist and advocate for increased access and inclusivity within the Natural History Filmmaking industry, I host the Wild Film Hub podcast and website which aims to open the door to a world of wildlife filmmaking opportunities for a diverse range of international talent.

Working with the award-winning team at Offspring Films, I play a pivotal role in the Development team. Specialising in Natural History, Blue-Chip, Presenter Lead, Travel, and Adventure, we create an array of captivating factual series while nurturing emerging talent.

Apple, Offspring Films, EarthSounds. Producer12 x 30. Back with the wonderful team at Offspring Films, I have stepped up to Producer. Creating a marine episode for this new series which will use audio technology and cinematic 360 sound design to reveal the unexpected, unfamiliar, and untold natural stories on every continent of the planet.Series Producer: Sam Hodgson Editor: Andy Netley

4 x 60. The blue-chip production ‘Attenborough’s Life in Colour’ looks at colour use in the natural world. This role involved producing and directing sequences in Chile, Panama, and Kenya with bespoke camera tech. Series Producer: Sharmila Choudhury

12 x 30. Working on Apple’s first-ever Natural History commission with the award-winning team at Offspring Films, I produced one feature coastal episode: Seal Coast. This episode details the nighttime world of wildlife along Namibia’s skeleton coast. Responsible for everything from conception through to the edit. Using pioneering low-light camera technology, we transport viewers into a magical moonlit world, in full colour. Exec: Alex Williamson

4 x 60. Back with the lovely team from Plimsoll, I helped produce four one-hour live programmes for National Geographic. Working as the Live Helicopter Producer with shotover and RF uplink to an overhead plane. Planning flight routes, working with the tech team, and on the night coordinating with a variety of spotters from the helicopter to deliver the best wildlife in real time. Exec: James Smith

For this one-hour natural history documentary I produced and directed several blue-chip sequences. Using a range of cutting-edge technologies including cable cams, ronins, MoVIs, drones, and camera traps. Exec: Stephen Dunleavy

1 x 120min. Working with the dynamic team at Plimsoll to help produce a two-hour live program for National Geographic. Producing and scripting stories for Kenya, Borneo, Fiji, the US and Brazil. A huge technical set-up with underwater live dive teams, ME20s, Selex (with live uplink!), cineflex, drone to drone filming and much more. On the night I directed Steve Winters from Brazil showcasing the arboreal life of the ocelot.

As an Assistant Producer on this BBC flagship programme I researched, set up and helped script several VTs across the length and breadth of Australia with presenters Liz Bonnin and Brian Cox. Culminating in a four-week shoot. Filming in marine environments including the Great Barrier Reef and the coastline of Eastern Australia.SP: Paul King

As a development Assistant Producer working over Wildscreen and MIPCOM I wrote, formatted and pitched world-class, blue-chip, natural history documentaries to a range of international broadcasters.Exec: Lucy Meadows

This 6-part series for the BBC truly investigates the history in natural history. As such, I had to collaborate with museums, libraries and academics across the world to uncover lost stories, books, images, and specimens and shed light on little known but intriguing tales of early explorers and naturalists. Culminating in a 12-week shoot across the UK, on location I assisted with the kit, crew and contributors, as well as the numerous animals, rare books, and specimens covered in each piece.Exec: Stephen Dunleavy Producers: Hilary Jeffkins & Sharmila Choudhury

6 x 60 min series for ITV featuring Steve traveling to some of the most challenging and isolated places in the world. Working as an Assistant Producer on this project, I was responsible for finding amazing stories and setting up shoots in South Africa, Namibia, Indonesia and Australia. This included dive shoots, filming with dangerous animals and traveling to inaccessible areas. I collaborated with academics, experts, rangers, fixers and location teams across the world. There was a heavy emphasis on safety and access, so I had to consider these while insuring filming could occur without issue. SP: Mark Jones Producer: Sally Evans

9 x 60 min BAFTA award winning series for BBC1 and PBS. Working as a researcher involved generating world class stories on marine and terrestrial wildlife. Attending natural history shoots to film cetaceans off the Californian coast. Finding cutting edge science contributors and filming pioneering large scale research. Arranging permits – both for wildlife filming and location access. Securing novel technologies to showcase some of the biggest and most dynamic marine creatures in the world. And importantly the resilience, organisation and problem solving needed to thrive in the high stress, large team, live show environment.SP: Adam White Producer: Chris Howard

As a development researcher on Series Three, I work to develop stories and locations not only on this series but a host of Natural History ideas for commission.

3 x 60 min series Deception with Chris Packham for BBC Two looks at the amazing use of deception through the animal world. This research involved finding novel and new science examples of deceptive behavior, which would translate to television. Building the stories and arranging shoot logistics across the globe.Producer: Mark Jones, PM: Dulcie Arnold

As a researcher for the hugely successful River Monsters Series Eight, I developed marine stories. I was tasked to secure access to secret and isolated locations. Liaise with contributors and note first hand accounts, backed up by new and novel science research. Producer: Daniel Rasmussen, PM: Clare Whitby-Smith

As an Assistant Producer for the third fast paced, 10 x 60 minute science series I managed a team of researchers, built a global network of academic contacts, assisted with script writing, made tough editorial calls and self-shoot for broadcast. I had to build contributor and off-screen expert relationships to insure complicated science was explained in a fun and accessible manner.Commissioning Editor: Wyatt Channell, Science Producer: Bev Prosser

As Assistant Producer on this 10 x 22 minute series I traveled the US extensively, filming in extreme locations such as on active volcanoes, in the desert and in the vast North Western forests. I had to insure access to the best locations and stories, while overseeing health and safety on location; I engaged medics, evacuation plans, guides and fixers. I acted as second camera on-location.Commissioning Editor: Tom Gorham, SP: Paul Connolly

As a researcher for the second series 12 x 60 minute pop science show, I worked with viewer created content on popular websites to locate great videos with interesting science content. I then tracked, contacted and liaised with the video owners, securing interviews and technical information.Commissioning Editor: Tom Gorham, SP: Gareth Cornick

I came in as a researcher on this 6 x 60 minute series to insure it met Nat Geos standards. This included fact checking, annotating scripts and working closely with academics. SP: Gareth Cornick

As Post Production Coordinator on this documentary series I was responsible for annotating scripts, creating audio and graphic transcripts and looking after deliverables. Working in post I expanded my understanding and gained skills vital to build a successful and organised production from start to finish.Exec: Anthony Geffen, Director: Martin Williams

Shot in multiple global locations including China, US and Europe my role as Researcher / Coordinator included arranging natural history shoots – including sequences in northern China. I set up international shoots, with massive crew and kit requirements, to insure every aspect of production had been thought about, from the distance of the hotel to the location, to the movement of equipment across the globe.Exec: Anthony Geffen, Director: David Lee

Fast paced Obs Doc following the eviction process of a housing benefits tenant. My role as Assistant Producer involved building a close relationship with the contributor to allow filming at her home with her young children, attending court to film outside and to note proceedings inside. Director: Michael Lebor

At Production Company Environment Films, we specialised in creating content for Charities and NGOs as well as for commercial partners such as Transport for London and Panasonic. Starting as a runner, by 2012 I acted as PMA then PC, my responsibilities covered coordinating all the productions occurring simultaneously, including pre-production schedules, budgets, meetings, crew schedules, film dates, post-production staff, suites, equipment, and deadlines.