These presentation slides and the accompanying audio are from the Abertay University and IC tomorrow 'Games for Film' briefing event. The event held at the BFI Southbank on August 15th 2012 and featured guest speakers from Lionsgate UK, Revolver, and Roast Beef Productions. The presentation also features a Q&A with the challenge partners and concludes with The Connected Set, a previous challenge winner, discussing their experiences with the IC tomorrow contests.

1. Games for Film contest
In partnership with

2. Today’s agenda
• 14:00 Paul Brindley, IC tomorrow - Introduction
• 14:15 Joanna Knight, Lionsgate - Challenge #1 & 2: Theatrical & home entertainment releases
• 14:35 Andrew Woodyatt, Revolver – Challenge #3: Spike Island
• 14:55 Mike Lerner, Roast Beef Productions - Challenge #4: Smash and Grab
• 15:15 Paul Durrant, Abertay University - Contest overview
• 15:35 Paul Brindley, IC tomorrow - Contest application process
• 15:50 Jake Cassels, The Connected Set - Previous contest winner
• 16:00 End

3. About IC tomorrow
IC tomorrow is a Technology Strategy Board programme, committed to
supporting innovation and economic growth in the digital sector, on multiple
platforms and across a variety of industries. We do this by:
• providing investment to start ups and SMEs through our contests
• facilitating networking and matchmaking opportunities between content owners
and innovation companies, both online and offline, through upcoming eventsand
the IC tomorrow network directory
• the IC tomorrow digital testbed; a platform where consumers can try out new
business models; and where content owners and innovation companies can test
potentially disruptive new business models in a secure environment with those
consumers - getting useful analytics back in the process.

5. Content providers on board…

6. … and a wide variety of digital innovators
SALLY POTTER

8. IC tomorrow contests
IC tomorrow runs grant funded contests in partnership with challenge partners.
• Aim is to seed fund development of new digital products and services and forge
relationship with rights owners/challenge partners.
.
• Rights owners/challenge partners set challenges for applicants to solve.
• Solutions should be applicable to a range of other partners and offer wider commercial
market potential.
Visit https://www.ictomorrow.co.uk/biz to view the latest contest announcements.

10. IC tomorrow and Abertay University
Abertay University is offering a Prototype Fund specially designed for start-up and small,
established developers requiring additional working capital up to £25,000 to cover the staff
costs to produce a prototype for a new intellectual property.
. Together with IC tomorrow, Abertay University has run contests using its Protoype Fund
capital to find the best gaming concepts for IC tomorrow partners, including EMI, Tate Britain,
and National Geographic.

12. About Abertay
Abertay University was awarded the UK's first Centre for Excellence in Computer Games
Education.
The AbertayGameLab was opened in September 2008 to provide a modern multi-disciplinary
working environment for the teaching of game technology and game application development.
Abertay University is the only UK University with official accreditation for both computer games
technology and computer arts; and offers world-leading courses in computer arts and computer
games technology.
Home to Dare to be Digital - the UK's premier computer games design competition for University
students.
Abertay University launched Scotland's first degree in computer arts, underpinning the creative
industries sector that supports 600,000 jobs across Britain and contributes more than £20 billion to
the UK economy.

13. The Games for Film contest
The contest aims to provide the best games and film concepts for our challenge
partners, the BFI (British Film Institute) and Lionsgate.

14. Joanna Knight
Senior Business Manager, New Media
Lionsgate

16. Challenge #1: Theatrical releases
To develop a marketing concept using gaming mechanics to drive consumer engagement with
new theatrical release(s).
For a theatrical release, the objectives should be immediate and should:
• drive engagement
• communicate key selling points
• drive ticket sales for the cinema
• increase word of mouth recommendations via audience to friends.
In short, the game should have either a viral element to it or it should create a desire to
forward/share with friends. Leaderboards with competition prizes could form a simple solution to
creating desire to share, driving competition between friends or other possible solutions could
use social location mechanics.
The type of game or game mechanic is open; as is the platform; but it is expected that the
applicant will be creatively influenced by the choice of movie.

17. Challenge #1: Theatrical releases
The list of possible titles from which the developer can choose is as follows:
THE POSSESSION *Please note that due to the complex nature
TOWER BLOCK* of global film distribution and the intellectual
THE BIG WEDDING property associated with any release the
titles available for the purpose of this
SILENT HILL: REVELATION 3D
challenge listed below may not actually be
GREAT EXPECTATIONS available for commercial exploitation
THE TEXAS CHAINSAW MASSACRE 3D following the conclusion of this contest,
THE LAST STAND except *where indicated. We therefore
PLAYING THE FIELD encourage developers to consider how they
might approach films in a genre sense for
DIRTY DANCING
this challenge, rather than specifically
THE RAILWAY MAN develop for the film listed.
THE INVISIBLE WOMAN
FILTH
THE HUNGER GAMES: CATCHING FIRE

19. Challenge #1: Theatrical releases
For a theatrical release, the objectives should be immediate and should:
• create engaging content to capture audience and potentially drive revenue
• deliver an innovative concept that will drive strong word of mouth (for games and media alike)
• design a concept that can be built upon from its initial execution e.g. extra levels/improved
technology performance/extended game play
• exploit and grow existing databases of interested and relevant consumers to effectively
market new releases (digital and theatrical)
• build desire to consume movie content
• integrate effective game play with content from film to align the entertainment value across
both platforms
• in an ideal scenario, the game would be 'skinnable', so that it can easily be transferred from
film to film
• crossover with social networking sites to spread awareness beyond the game directly.

20. Challenge #2: Home entertainment releases
Home entertainment marketing differs from theatrical release marketing in a number of ways. For
example the viewer can interact with the film while it is playing; and the experience can be more
solitary without the need for the sense of „event‟ which comes with a cinema release. Also home
entertainment, post-release, is much more instantly accessible: the audience does not have to go
to the cinema to consume what we are trying to sell as people can click through very simply from
their device (phone or tablet) to purchase.
In effect there is much more impulse opportunity across home entertainment marketing. It is also
important for us to promote our library titles in conjunction with our new releases where possible –
and this is relevant across both the theatrical and home entertainment challenges.
The type of game or game mechanic is open; as is the platform; but it is expected that the
applicant will be creatively influenced by the choice of movie.

21. Challenge #2: Home entertainment releases
The list of possible titles from which the developer can choose is as follows:
DIRTY DANCING (CLASSIC) THE BIG WEDDING
WHAT TO EXPECT WHEN YOU‟RE EXPECTING SILENT HILL: REVELATION 3D
KELLY BROOK BRAND* GREAT EXPECTATIONS
THE TEXAS CHAINSAW MASSACRE 3D
MAD MEN
DIRTY DANCING
MOST HAUNTED BRAND* THE HUNGER GAMES: CATCHING FIRE
FRIENDS WITH KIDS THE PAPERBOY
MAGIC MIKE LOVELACE
KEITH LEMON THE FILM THE RAILWAY MAN
FILTH
THE EXPENDABLES 2
HUMMINGBIRD
THE POSSESSION* THE PROFESSIONALS
TOWER BLOCK*
ON THE ROAD

22. Challenge #2: Home entertainment releases
The successful applicant should attempt to do the following:
• create engaging content to capture audience and potentially drive revenue
• deliver an innovative concept that will drive strong word of mouth (for games and media alike)
• design a concept that can be built upon from its initial execution e.g. extra levels/improved
technology performance/extended game play
• exploit and grow existing databases of interested and relevant consumers to effectively
market new releases (digital and theatrical)
• build desire to consume movie content
• integrate effective gameplay with content from film/TV show to align the entertainment value
across both platforms
• implement click-to-purchase or pre-order capacity (from iTunes or linking through to online
retailers such as HMV, Amazon or Play.com)
• if applicable, include consumer detail so that they can access a movie/TV show within the
app
• In an ideal scenario, the game would be „skinnable‟, so that it can easily be transferred from
film to film
• crossover with social networking sites to spread awareness beyond the game directly.

23. Andrew Woodyatt
Head of Theatrical Marketing
Revolver

25. Challenge #3: Spike Island
Spike Island is a new film
.
directed by Mat Whitecross
(Sex & Drugs & Rock &
Roll, 2010). The film
follows 72 hours in the
lives of five young lads
from Manchester who
travel to Spike Island to
see their idols, The Stone
Roses, play their legendary
1990 gig.

26. Challenge #3: Spike Island
There are a number of possible angles to a games and film partnership which the film
makers are keen to explore. These include, but are not restricted to:
• interactive elements that also provides info on the film
• the use of cast avatars
• an application or service which not only invites younger audience to engage with the film but
also has a nostalgia element – is it possible to appeal to two different demographics in one
game?
• creative use of the strong music element from the film
• an application or service which invites people to book their tickets or pre-buy a DVD
• a game that could work to promote the theatrical or DVD launch.
Please note that although the film is based around a Stone Roses gig and whilst the Stone Roses
are pivotal to the story and soundtrack, the producers would prefer to see examples of games
which are not just for fans of the band; rather for fans of the film.

28. Mike Lerner
Producer
Roast Beef Productions

29. Challenge #4: Smash and Grab
Smash and Grab: The Story of the Pink Panthers is a feature
documentary made for cinema. Produced by Academy Award-
.
nominated Mike Lerner, and Sundance–winning director
Havana Marking, the film reveals the underworld of diamond
stealing, smuggling and fencing.
With a detailed recounting of a safe heist as the back bone to
the film, there are also interviews with the police on the trail;
and, with the terrible Balkan conflicts as backdrop, an
explanation of the wider context. This is real life cops and
robbers - with a quarter of a billion dollars worth of jewels
already gone. Inspired by noir graphic novels and films such a
Sin City,Smash & Grab is part-animated using a brilliant and
original rotoscope technique.

31. Challenge #4: Smash and Grab
There are several key themes to the movie which could be explored within the game:
• planning a heist
• stealing a diamond
• tracing a diamond globally as it makes its way back into the legal trade
• catching the bad guys.
We are particularly looking for applications which might sit within a social media context.
We would like gaming technology to connect audiences with the cinema release faster, drive
attendance, and to enable the “buzz” to spread quicker.
Another important aspect of the challenge is to make full use of the animation style. This is a
unique and innovative feature of the film and we would like the developers to make the most of it.

32. Paul Durrant
Director of Business Development
Abertay University

33. Fund criteria
•Innovation
•Route to market
•Commercial viability
•Applicant‟s potential for success
•Business scale and capacity

36. Innovation
•Looking for competitive advantage
•Something that gives the project an edge
•Unique game design, originality in deployment or market etc
•However, must be in the context of market opportunity

37. Route to market
•Looking for clarity of route to market
•Why the prototype will make a difference to getting there
•Next steps likely to generate additional working capital
•Broad view including use of prototype to promote project
•Explaining track record, relationships etc will improve success

38. Commercial viability
•Looking for ambition and reasonable scale
•Startups need to show potential for sustainable business
•Targeting new or untapped markets acceptable, BUT
•MUST show you understand the niche you have identified
•Need for working capital to fund project ahead of grant claims

39. Applicant potential
•Can you and your team deliver the prototype?
•Background, skills and past achievements important
•However, graduate start-ups not excluded –but in that case must show you have
mentors, networks etc in support
•This contest will look at this aspect very closely in terms of the potential to have a
sustainable business/supply chain relationship in the field

42. Business capacity
•Do you already have a development team?
•Does it have the required skills depth?
•One person developers /design-only teams may not qualify
•Identify weaknesses and explain how you will address

43. Important aspects
•Working capital needed to spend in advance and reclaim after
•Might take a couple of months for your first grant claim
•Grant is primarily for salary costs
•Evidence of PAYE payslips and bank statement required
•This applies also to Directors that are hands-on in the project

44. Funded projects
•Work in partner University, our studio or your own
•Overseen by industry-experienced Portfolio Managers
•Progression/milestones linked to grant payments
•Periodic retrospective claims

45. Sharing success
•Strictly speaking grant is non-repayable, BUT
•Expecting contribution to replenish fund from successful projects
•Mechanism proposed by recipient on case-by-case basis
•Example: % of sales revenue over £X sales until £Y cap

48. Other opportunities
•Work with us to develop another contest
•Promote/join the talent pool
•Encourage your local university/other centres to host projects
•Invest in/partner with one of the grant recipients

49. Application process

50. Application process ‘Stage one’
Stage one
•Register and apply at: https://connect.innovateuk.org/web/games-for-films-contest,
follow us at @ICtomorrowbiz or search #gamesforfilm.
•Once registered you will have access to the online application form and supporting
documents.
•Complete the answers to the questions offline so you are ready to complete the
application form in one attempt and produce your two minute video (web cam is
acceptable).
•Upload your video to YouTube, ensuring privacy is set to public.
Deadline: Complete the online application form, including the link to your
YouTube video, before noon on 20 September 2012 .
We expect to choose up to 12 finalists from ‘Stage one’ to go through to ‘Stage
two’.

51. Assessment process ‘Stage one’
A common review process applies to all application forms entries:
•each application is reviewed by a Review Panel
•each application is reviewed against the same set of assessment criteria
•the Review Panel then assess the collective scoring and identify a ranked order of
the review. The Panel will discuss the applications and the videos to identify the
proposals to invite to pitch live
• all other applicants will be informed they have not been successful with their
application
• only successful applicants from „Stage one‟ will be invited forward to „Stage two‟.

52. Panel session ‘Stage two’
Stage two
Up to 12 successful applicants will be invited to the „Stage two‟ panel session on 25 or 26 October
2012 at the Game City conference in Nottingham.
Those chosen to go through to „Stage two‟ will be required to answer some additional questions
and to provide a 10 minute presentation with Q&A. Up to 5 minutes is able to be used to pitch your
proposal to the panel and the remaining time will be used by the panel as Q&A.
Only one person is able to represent each proposal.
Practice sessions have been arranged in front of the IC tomorrow team to provide feedback and
enable you to improve your pitch.
We expect to choose approximately four applications from this stage. Successful applicants will
then have four to six months from receipt of the offer letter to add their applications to IC tomorrow.
Consumer trials must be live spring 2013. The IC tomorrow team will help the successful applicants
to gain access to licensed content from our key sponsors and other content providers as required.

53. Successful ‘Stage two’ applicants
•Successful 'Stage two' applicants will be sent a provisional letter of engagement.
•Following this, applicants will be required to attend a project launch meeting with IC
tomorrow and the relevant challenge partner/organisation to discuss their plans for
delivery and agree the nature of their collaboration, including any requirements for
exclusivity.
•Once the plan of delivery is mutually agreed, it is worked up into a service agreement.
•The service agreement has to be signed off within three months.

54. Key dates
Contest opens 6 August 2012
Briefing event 15 August 2012
Closing date for submissions 20 September 2012 noon
Finalist notified 26 September 2012
Practice pitch sessions at IC tomorrow office W/C 1 October to 19 October 2012
Final panel session atGame City conference 25 or 26 October 2012
in Nottingham
Prototype trials launched February/March 2013

55. Jake Cassels
Project Director
The Connected Set
http://theconnectedset.tv

56. Past contest winner for the ‘Quiz Trail’ app
Following an Abertay sponsored innovation
contest in 2011, winner The Connected Set has
launched the „Quiz Trail‟ app with Tate Britain,
which is available in the iTunes store. This was
Tate Britain‟s first ever app.
The game reached number one in “New and
Noteworthy” and was also featured in the
educational top ten in the app store. The game
has also received coverage on the Guardian Apps
Rush and on BBC 6 Music‟s Planet of the Apps.

58. Contact details
Tweet us!
Follow us @ICtomorrowbiz to keeping in touch and up-to-date with the
latest information, news, press releases and system updates.
Games for Film contest hashtag#gamesforfilm
IC tomorrow telephone: 0300 321 4358