Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Audiences of the Future Consortium Building Event - Moving Image - May 2018

345 views

Published on

The consortium building events enable bidders to find out more about the £16M Demonstrator Programme - competition to explore future global, mass market, commercial opportunities in immersive experiences and technologies through supporting a limited number of large and ambitious pre-commercial collaborations in four sectors. This is the presentation from the Moving Image Consortium Building event that took place 21st May 2018 in London.

Published in: Government & Nonprofit
  • Be the first to comment

  • Be the first to like this

Audiences of the Future Consortium Building Event - Moving Image - May 2018

  1. 1. Audience of the Future, Consortium Building Event MOVING IMAGE Monday 21st May 2018 British Film Institute @UKRI_News #industrialstrategy #AudienceFuture
  2. 2. AGENDA 13.15 Welcome and Introductions 13.20 Audience of the Future: Scene Setter + Q&A 14.00 State of the Art: Presentations 14.15 State of the Art: Panel Discussion + Q&A 14.45 Tea and Coffee Break 15.15 Networking and Consortium Building 16.45 Wrap-up and Next Steps 17.00 Event End
  3. 3. Audience of the Future Context and demonstrator rationale Prof Andrew Chitty Interim Challenge Director Audience of the Future UK Research and Innovation #AudienceFuture #IndustrialStrategy 3
  4. 4. CHEAD presentation 14.04.18
  5. 5. “Immersive experiences are new forms of content, new narrative mechanisms and a new language around production which spans the Creative Industries….. “The best technology will not produce the step change needed without equal excellence in content production and understanding of immersion as a narrative form. “The UK must ensure it is the most highly skilled nation producing content that exploits these technologies” Sir Peter Bazalgette Independent Review of the Creative Industries
  6. 6. Audience of the Future To capture new global audiences and grow our leading market position in creative content, products and services by adopting, exploiting and developing immersive technologies. Challenge Statement *
  7. 7. • Immersive technologies (AR, VR, XR) are the most significant and potentially disruptive technologies to impact the Creative Industries since the web in the mid 90s • They present both opportunities and threats to the UK’s current level of global competitiveness as both IP creator and production centre • Global commercial opportunity for UK Creative Industries is through content/experiences enabled by immersive technology rather than platform or hardware Audience of the Future Rationale
  8. 8. That by 2025 UK is a global market leader in the creative immersive sector. 1. UK creates 10% of global creative immersive content 2. The UK Creative Industries sustains its above average growth. 3. The UK has a low barrier of entry for producing high-quality immersive content, 4. The UK has an increased skilled workforce to create immersive content. 5. Increased private investment in immersive technology and experiences Programme Objectives *
  9. 9. • Audience of the Future is central to Creative Industries Sector Deal • High expectations that AoTF will de-risk investment • Identifying/ testing viable audience propositions & business models • Innovation in production tools/reskilling workforce • Industry engagement across the value chain • Specialists in AR/VR/XR companies but also… • Content studios, IP owners, creative technology companies, hardware providers, platforms operators, investment community, distributors Industry Context
  10. 10. Audience of the Future – £33m grant funding • Ambitious, pre-commercial content innovations using global IP. • New experiences that advance the state of the art and test with real audiences at scale. • Large collaborations across the supply chain to explore future commercial models. • Talent development and experimental production for the Screen Industries • Delivered with Clusters Programme • Designing for future audiences £2m • Making content production cheaper, faster, more accessible £8m • Investment Acceleration £2m £16m Demonstrator Programme £12m CR&D Programme £5m Industry Centre of Excellence
  11. 11. £m 2018/19 2019/20 2020/21 Total ISCF Funding 4.50 14.00 14.50 33.00 Matched Industry Funding 1.70 8.10 9.70 19.50 CICP Funding 0.75 1.25 1.25 3.25 Total (£m) 6.95 23.35 25.45 55.75 Audience of the Future – a £56m programme
  12. 12. 19 Demonstrator Programme: rationale • That UK Creative Industries future success in Immersive economy will be based on our strength in innovation in content, experience and business not in technology • That investment in AR/VR/MR/XR at scale is currently held back by lack of clear audience propositions, forms and formats that could underpin commercial models and unlock required investment • The current market is largely pre-commercial, with much current work innovation driven, small scale, promotional or ancillary rather than seeking revenue generating opportunities from new audiences. • Public investment in a series of large scale, pre-commercial, collaborative experience demonstrators could stimulate content innovation, audience testing and business modelling at scale, provide sectoral learning and unlock investment.
  13. 13. • Up to £16m; Max Grant £4m • 4 areas identified with industry as maximum opportunity • Performance • Moving Image • Sport Entertainment • Visitor Experience • Looking for projects that can significantly advance creative, technology and commercial state of the art across a whole sector Demonstrator Programme: overview
  14. 14. © Royal Shakespeare Company
  15. 15. 35 Demonstrator Programme: Objectives • Innovation: we will support industry led consortia to develop NEW audience experiences that show they can significantly advance the current state of the art • Insight: each large scale demonstrator must reach an audience of >100,000 in order to learn lessons at scale • Capacity building/knowledge sharing: each consortium should have sufficient reach to advance knowledge across their sector and a plan for how to do that*
  16. 16. 36 What do we mean? • Significantly advance the current state of the art • Creative proposition • Audience Proposition • Commercial Proposition • Technical implementation • Reach >100,000 users across the lifetime of the project • One or more audience propositions or tests • Gather audience data • Derive commercial insight • Use globally recognised IP • To reach audience • To address rights and IP issues • To inform commercial models
  17. 17. 37 Ambition and Scale “Each one of these demonstrators would be the biggest creative VR project in the world at the moment” Jeremy Bailenson, Director Stanford VHI Lab
  18. 18. 38 Ambition and Scale • This is a very ambitious programme • but absolutely not just a VR one • We are looking for gamechangers • not just the next thing (a bit bigger) • or the same thing (a lot bigger) • or something that isn’t core to the future of the sector • The scale of funding available is beyond people’s current experience • in thinking, in project scope, production, scale of experience, talent • but we need to spend it wisely
  19. 19. 39 Consortia • To meet the ambition we think you will need to engage the whole value chain: • Specialist XR companies but also, academic and industry R&D teams, IP owners, rights holders, content and experience producers, GFX, Studios, talent, hardware, technology platform and distribution partners • In a consortium with a vision to impact the sector not just deliver a project for a single company or institution
  20. 20. Immersive Experiences: multisensory narrative or interactive audience experiences mediated through technologies including: • virtual, mixed and augmented reality (VR, AR, MR) • haptics • advanced visualisation • other sensory interfaces Definitions
  21. 21. Moving Image • Repeatable audiovisual audience experiences currently created for display on screens, including TV, films, games, animation and online media. • These can • be narrative, interactive or game-based experiences • be fictional or factual in nature • include adaptations from source material in other media • We are particularly looking for immersive audience experiences that use moving image expertise to create new audience propositions with mass market and commercial potential. Scope: Themes
  22. 22. • To be eligible to lead a bid for funding you must: • be a UK-registered business, • carry out your project work in the UK • intend to exploit the results in or from the UK • work in collaboration with others • Collaborations must include at least one SME • A business may only lead on one application and partner in a further 2 applications. • If not leading a business can be a collaborator in any number of applications. Eligibility: lead bidders
  23. 23. • You can claim up to a max £4 million in grant funding across the consortium • Significant match funding is required • To claim the max £4m grant total project costs must be > £5 million. • Total cost is the combination of the requested grant value and the applicant’s contribution. • We anticipate funding projects with total costs £5m to £10m and above • Demonstrators are classed as industrial research so are funded • up to 70% of your total project costs if you are a small or micro business • up to 60% if you are a medium-sized business • up to 50% if you are a large business Funding: lead bidders and companies
  24. 24. • Universities and IROs – 100% (80% FEC) • Other research organisations can claim 100% of their project costs • They must be non-profit distributing and disseminate project results. • Total research organisations max 30% of grant • Public Sector Organisation or Charity - 100% of eligible costs • Must be performing research activity & disseminate project results. • Must ensure that the eligible costs do not include work / costs already funded from other public sector bodies Funding: research organisations
  25. 25. • Application Deadline 1st August Noon • Assessment over August • Invitation to Interview 1st September • Interview panel w/b 10th (TBC) • Notification of outcome w/b 24th (TBC) • Projects start from 1st Nov 2018 • and must complete by 31st Dec 2020 Timeline
  26. 26. AUDIENCE Q&A Prof Andrew Chitty Interim Challenge Director, Audience of the Future @drewchit
  27. 27. STATE OF THE ART: PRESENTATION Daniel Wan Lead Digital Creative, Alchemy VR @alchemyVR
  28. 28. A W A R D - W I N N I N G C O N T E N T S T U D I O C R E A T I N G V R A N D A R E X P E R I E N C E S D A N I E L W A N – L E A D C R E A T I V E ( V R / A R )
  29. 29. FROM 2D TO 3D
  30. 30. “ V I R T U A L R E A L I T Y H A S T H E P O T E N T I A L T O T R A N S F O R M T H E W AY W E E X P E R I E N C E A N D T H I N K A B O U T T H E N AT U R A L E N V I R O N M E N T ”
  31. 31. T H E E X P E R I E N C E H A S G O N E O N T O E X H I B I T I N S O M E O F T H E W O R L D ’ S L E A D I N G C U LT U R A L I N S T I T U T I O N S A N D I N T E R N AT I O N A L F E S T I VA L S I N 2 0 1 7 I T WA S AWA R D E D T H E F I R S T B A F TA F O R V I R T U A L R E A L I T Y S T O R Y T E L L I N G
  32. 32. P R E S E N T E D B Y: D A N I E L WA N L E A D C R E AT I V E A R / V R D A N I E L W @ A L C H E M Y V R . C O M + 4 4 ( 0 ) 2 0 8 7 3 5 9 3 2 3
  33. 33. STATE OF THE ART: PRESENTATION Katie Grayson Head of Experience, Passion Pictures @PassionPix
  34. 34. EMOTIVE, CHARACTER BASED STORYTELLING Katie Grayson - Head of Passion Experience @Hello_Passion
  35. 35. TECHNOLOGY ENABLED STORYTELLING Katie Grayson - Head of Passion Experience
  36. 36. STATE OF THE ART: PRESENTATION Ben Roberts Director of the BFI Film Fund, British Film Institute @bfiben
  37. 37. STATE OF THE ART: PANEL DISCUSSION Prof Andrew Chitty @drewchit Daniel Wan @alchemyVR Katie Grayson @PassionPix Ben Roberts @bfiben
  38. 38. TEA & COFFEE BREAK (30 minutes) 15.15 Facilitated Networking and Consortium Building 16.45 Wrap-up and Next Steps 17.00 Event End @UKRI_News #industrialstrategy #AudienceFuture
  39. 39. NETWORKING AND CONSORTIUM BUILDING Tara Solesbury Programme Manager AHRC Creative Economy Programme Audience of the Future Team
  40. 40. NETWORKING AND CONSORTIUM BUILDING Five minute ‘speed meetings’ with potential collaborators Who are you? Why are you here today? What are you looking for? Move on to next meeting
  41. 41. WRAP-UP AND NEXT STEPS Prof Andrew Chitty Interim Challenge Director, Audience of the Future UK Research and Innovation @drewchit @UKRI_News #industrialstrategy #AudienceFuture
  42. 42. Email by end of this week with: Slides from today Video of all presentations Opt in delegate detail spreadsheet Want to opt in then contact: audience.future@ceprogramme.com Customer Support Service: 0300 321 4357 Support@innovateuk.gov.uk @UKRI_News #industrialstrategy #AudienceFuture

×