Elizabeth Scarlett
Social Content Producer
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Social Content Producer
As our Social Content Producer, you will join a team that leads with kindness, dreams big and takes action together. You will run our social shoots end to end — planning them, styling them and making them happen every two weeks — so there is always a supply of art-directed, social-first creative to put behind our paid social spend.
💰 Salary: £38,000 – £45,000
👩 Reporting to: Creative Production Lead (interim: Paid-Social Creative Strategist)
📍 Location: Potters Bar
🏙 Hybrid: 2-3 days per week in Potters Bar (and/or wherever needed for shoots)
📝 Employment type: Full Time
Why this role matters ✨
Paid & Organic Social is where most people meet Elizabeth Scarlett for the first time, and creative - not targeting - decides whether that experience goes anywhere. This year we want to triple the number of ad concepts we put into the market, without sliding into the flat, disposable content the category is full of. That means shoots running every fortnight, planned properly and styled to a standard we are proud of. Today they happen when someone can find the time between campaigns.
This is your chance to:
- Unblock our biggest growth constraint — not budget, not ideas, but the number of finished concepts we can get in front of people each month.
- Prove that volume and craft are not a trade-off. Most brands tripling their output let the quality slip; this role exists so that we do not.
- Build a shoot operation from a standing start — the rhythm, the kit, the locations, the props, the freelance hands — and own it as it grows.
What you will be doing 🚀
1. Run a Fortnightly Shoot Rhythm
- Own a rolling shoot calendar that puts a social shoot in the diary every two weeks.
- Take the concepts written by the Paid-Social Creative Strategist and turn them into a schedule, a shot list and a plan that can genuinely be delivered in a day.
- Work backwards from the paid-social testing calendar so shoots land ahead of the campaigns that need them.
- Turn the shoot process into something repeatable — templates, checklists and timings the team can run to, rather than something rebuilt from scratch each fortnight.
2. Own Pre-Production End to End
- Turn each brief into a detailed shot list covering every concept, product, angle and format the team needs from the day.
- Handle the logistics — samples, props, locations, permissions, creator and talent bookings, kit, call sheets and timings — so everyone arrives knowing exactly what is being made.
- Pull and prepare product yourself, checking every piece is shoot-ready: right colourway, steamed, unmarked and matched to the concept it belongs to.
- Manage the shoot budget sensibly, finding the props, locations and freelance hands that give us a premium result without a campaign-sized spend.
3. Style the Shoot Day
- Style set, surfaces, props and product to the ES look: natural light, minimal props, the product as hero, and space around everything to breathe.
- Art direct on the day alongside the Video Creators, holding each frame to the brief while keeping the pace needed to get through the full list.
- Keep the day moving — you are the one watching the clock, the light and the list, so the last set-up is shot as well as the first.
- Solve problems on the spot: the sample that has not arrived, the location running late, the concept that is not working in front of the camera.
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4. Multiply Concepts From Every Shoot Day
- Plan each day to produce multiple distinct concepts rather than one, with variants in framing, styling, product and setting built into the shot list from the start.
- Capture the extra assets that make a concept stretch further — alternate openings, verticals, stills, cutaways and detail shots.
- Find the cheap wins between shoots: quick self-shot captures, in-office set-ups, and content grabbed alongside brand and campaign shoots.
- Track what has been shot against what has been briefed, so the team always knows what is in hand and what is still missing.
Who we are looking for 🧳
Mindset:
- A producer's diary and a stylist's eye. This role needs both: you can run a call sheet to the minute and still care whether the linen is folded correctly in shot.
- Every two weeks means every two weeks. You treat the cadence as a commitment rather than an ambition, and you plan far enough ahead that a missing sample never becomes a cancelled day.
- You style for the crop, not the room. You think in vertical, sound-off and thumbnail, and you know a set-up that looks beautiful in person can be unreadable at 9:16 on a phone.
- Volume is a planning problem, not a quality one. You get twelve usable concepts out of a day most people would get four from — because you built the day that way, not because you rushed it.
- Calm when the day goes sideways. Shoots go wrong. You are the one who reorders the schedule, finds the substitute prop, and keeps everyone relaxed enough to do good work.
Must-have skills:
- Proven experience producing content shoots end to end — pre-production, scheduling, logistics and running the day itself.
- Hands-on styling experience with product, props and set, ideally for a brand where how the thing looks is the whole point.
- The ability to turn a creative brief into a workable shot list, including the timings and set-up order that make the day possible.
- Confidence working with creators, talent, photographers and videographers on set, directing them warmly and clearly.
- A strong understanding of social-first formats — vertical video, sound-off viewing, and what a scroll-stopping frame actually needs.
Nice to have:
- Experience shooting paid social or performance creative, with a sense of what a hook needs from the camera.
- The ability to self-shoot and cut a rough edit on a phone or camera when a full set-up is not warranted.
- A background in homeware, accessories, fashion, beauty or gifting.
- An existing network of freelance crew, stylists, locations and prop sources in and around London.
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Experience:
- Likely 3–5 years in content production, styling, studio or shoot management for a brand, agency or studio.
- Experience owning shoots yourself rather than assisting on someone else's.
- Backgrounds we value: content production, social-first video production, art department and styling, studio management, in-house brand shoot teams, creative production at a DTC brand.
- A portfolio of shoots you have produced and styled — we care far more about this than your CV.
Culture fit:
- Kind, collaborative and uplifting.
- Entrepreneurial and action-oriented.
- Appreciates the value of brand as a growth lever.
- Cares about the quality of the work and the people creating it.
- Excited to join a purpose-led brand blending creativity, commerciality and conservation.
- Comfortable with the unglamorous half of a shoot day — the carrying, the steaming, the resetting — because that is what makes the other half possible.
What success looks like
In your first six months, a social shoot happens every two weeks without anyone having to chase it, and the number of finished ad concepts reaching the account each month has roughly tripled. By month twelve, the rhythm runs on templates and a library the whole team pulls from, freelancers and creators know the process before they arrive, and the work still looks art directed — nobody looking at our ads would guess we had tripled the output.
You're probably not the right fit if...
- You are an editorial or campaign stylist at heart. Here the budgets are modest, the pace is fortnightly, and a shoot is judged by how many concepts it produced rather than how it looks in a lookbook.
- You are a producer who hands styling to someone else. This seat holds both, and on most shoot days you will be the one dressing the set.
- You want to own the concepts. The Paid-Social Creative Strategist writes the briefs; your craft is turning them into real, beautifully made footage. If that would frustrate you, this is not the right seat.
What we offer 💡
Salary, bonus & benefits
- £38,000 – £45,000 DOE
- 10% performance bonus
- Health Insurance, plus Health & Wellbeing financial support
- Life assurance & enhanced Pension contributions
Flexibility and time
- Hybrid working (minimum 2 days in-office) with regular time in Potters Bar
- 24 days holiday plus bank holidays
- Up to 1 month “work anywhere" in the UK
Personal development
- Annual L&D budget (3% of salary)
- Annual summer retreat (e.g. 42 Acres in Somerset)
Team perks
- £500 ES products per year at 60% team discount
- 25% friends and family discount code
Impact and ownership
- Own the shoot operation behind our fastest-growing channel — you are building it, not staffing someone else's.
- Direct contribution to our wildlife conservation mission.
Our hiring process 👟
- Intro call with our People Team
- Interview with our Paid-Social Creative Strategist
- Interview with our Senior Creative 4
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