The Children’s Media Conference 2025: Animation Assemble!

The Children’s Media Conference ran from 8-10 July in Sheffield this year. Featuring a range of engaging discussions, take a look back at the conference, as we recap Animation UK’s Animation Assemble! panel and other highlights.

• 

• 

Animation UK recently returned to the Children’s Media Conference (CMC) in Sheffield. Attended by 1000 delegates, with 220 speakers and hosts featured, the three conference days were filled with pitching sessions, networking opportunities, receptions and panels. Discussions ranged from the dominance of YouTube and how creatives can embrace AI in their workflow, to broader questions about the current children’s media industry, with emphasis on the exciting news about the Culture, Media and Sport Committee’s (CMS) new inquiry into children’s TV and video content in the UK – which Animation UK will be responding to.

This year, Animation UK sponsored and co-produced “Animation Assemble! The Next Chapter for UK and Global Animation”, which featured a panel of independent consultants who shared their thoughts and insights on the changing industry landscape and what this means for the future of animation, in a session moderated by Jodie Morris (Creative Sprouts). The session was produced by Shannon Reeve (Blue Zoo) and Kate O’Connor (Animation UK), and executive produced by Tracy Liddell (Studio Liddell).

• 

• 

Panellists Jiella Esmat (8 Lions Entertainment), Robin Gladman (Red Squirrel), John Reynolds (Flip Side Media), and Laura Taylor-Williams (Media Stori Consultancy) emphasised that as the current industry landscape has already been disrupted and changed, the animation sector needs to be more entrepreneurial, collaborative, agile and proactive, as well as form more strategic partnerships – both nationally and globally, but also commercially with brands. They highlighted how creator economy models have been particularly successful, in a world where data literacy is now key.

But how can this be financed? The panel emphasised that sourcing funding is like compiling a jigsaw puzzle, where sources can range from more traditional broadcaster funds and regional incentives, to fresher co-production deals and brand partners. The panel called for more viable funding strategies, especially the expansion of funding criteria to make them more accessible for smaller and younger animation companies, and also called for better distribution models. They encouraged the audience to think of their IP more long-term and globally from the outset too, potentially modelling out of future earnings with a clear global distribution plan, and optimising IP via multi-platform brand strategies.

• 

• 

AI was also another topic of discussion, where the panel highlighted the importance for companies to examine how to incorporate AI into their workflow and how to implement it strategically in our industry. While it may be useful to use its tools operationally to stay competitive, questions around ethical licensing, copyright, and creativity remain.

The session wrapped up with some positive messages for the future of the industry, including celebrating the digital literacy of creators, talent of the younger generation, YouTube’s announcement on deprioritising AI content, and the CMS inquiry.

• 

• 

Throughout the week, Animation UK attended a variety of other panels and we were pleased to see a range of speakers from our membership contributing to most sessions, including “Question Time” – sponsored by Magic Light Pictures, featuring Blue Zoo’s Oli Hyatt and Aardman’s Emma Hardie – and “Put Your Money Where Your Mouth Is”, the pitching session showcasing fresh ideas from Brighton Zoo and Bonnie and Braw.

• 

• 

We also attended the “Opening Keynote” – where we heard from Waterstones’ Children’s Laureate Frank Cottrell-Boyce and this year’s Changemaker Lily Mott about shaking things up in the children’s media industry – the “Creative Keynote” on the legacy of Paddington Bear, and the “Last Word”, which was delivered by Basil Brush himself. The event has shown that CMC remains the place to be to engage with the UK’s children media sector.

CMC has a reputation for the quality of the content in the sessions. It’s because they’re all curated by volunteer producers from across the industry and the amazingly hard-working Advisory Committee members. What was really pleasing this year was to hear so much praise from delegates for the thoughtful, analytical and insightful conversations that happened on the panels. We couldn’t do that without the industry volunteers. CMC really is ‘by the industry for the industry’.

Greg Childs, Organiser of The Children’s Media Conference

We would like to thank the CMC team, the panellists and our fellow conference attendees for a wonderful few days. We look forward to seeing you all again in Sheffield next year!

Registered delegates and catch-up ticket holders can access the recorded panel sessions and reports on the CMC website. Videos of the sessions will come out on a rolling schedule over the next few weeks. For other information about CMC, visit their website here.

Welcome to our worlds: Animation UK at Annecy 2025

The UK Pavilion was brought to life by Animation UK and supported by the British Film Institute, the British Film Commission, the Department for Business and Trade, Film London, Creative Wales and Northern Ireland Screen.

• 

• 

Animation UK returned to Annecy, France, from 10-13 June to host the UK Pavilion, “Animation UK: Welcome to Our Worlds”. The stand was organised by Animation UK and supported by the British Film Institute (BFI), with National Lottery funding, the British Film Commission (BFC), Department for Business and Trade, Film London, Creative Wales, and Northern Ireland Screen.

In the heart of MIFA at Stand D.15, the UK Pavilion proved to be a key hub for delegates, where creators, buyers, commissioners, funders and more, gathered to connect and discover the latest projects and news in our sector. The UK Pavilion proved its popularity and value, hosting 225 scheduled meetings and countless impromptu walk-ins. Animation companies were welcomed with the stand’s eye-catching panels that featured some of the sector’s achievements over the past year, including Oscar-nominated and BAFTA-winning Wallace & Gromit: Vengeance Most Fowl.

• 

• 

Reflecting our broad geographical base, representatives from Wales and London attended to highlight their regions and local incentives. The BFI’s UK Global Screen Fund (UKGSF) and Certification Unit were also present to answer questions from delegates about the UKGSF’s three open access funding strands and how to qualify animation as British in order to access the UK’s Audio-Visual Expenditure Credits. Accountancy firm Saffrey also attended and gave the latest updates on the UK’s tax credit system for animation and offered expert insights into all things finance, tax and structuring, including co-production for animation projects.

• 

• 

• 

• 

Animated features were a special focus at this year’s pavilion and we were delighted to host an exclusive lunchtime event with the BFC. Kate O’Connor, Executive Chair of Animation UK, introduced the session, followed by a discussion with CEO of the BFC, Adrian Wootton OBE, and CEO of Cantilever Media/Kazoo Films, Andrew Baker, who chatted about the animation tax credits and highlighted its benefits, looking at The Amazing Maurice as a case study in front of a packed pavilion. This past year has seen the positive impact of the government’s new initiatives to bolster high-end TV and film production and this sentiment was echoed and emphasised during the event.

We now have some of the most competitive tax-relief systems in the world, which are brilliantly administered by the BFI. It’s the icing on the cake for the UK animation sector, which is one of the most diverse and dynamic in the world. The UK is now [seen as] a smart investment and a brilliant partner for co-production.

Kate O’Connor, Executive Chair of Animation UK

To strengthen strategic partnerships on behalf of Animation UK, during the week, Kate held meetings with representatives from a range of other countries and organisations. These included: Women In Animation, Ireland, Animation In Europe and many more. 

• 

• 

A total of thirteen UK productions were shortlisted at this year’s Annecy Festival, including works by members: Cardboard by Locksmith Animation, Big Lizard by Beakus and Tiddler by Magic Light Pictures. See the full list of this year’s winners here, and the list of the shortlisted UK projects in our 2025 brochure here.

• 

• 

• 

• 

On the Thursday, Animation UK hosted our own reception at the stand, where more than 110 UK delegates registered, with many more MIFA attendees turning up. With the drinks and conversations flowing, the evening saw both new and familiar faces, united in celebrating the UK animation sector on our sunny terrace.

Animation UK member Blue Zoo also hosted a reception at the pavilion to celebrate the studio’s 20th anniversary. Outside the stand, the week was packed with events from other UK studios and companies, including receptions hosted by Magic Light Pictures, Netflix, DNEG Animation, Festivus, Animation Scotland, Locksmith Animation and Passion Pictures.

• 

• 

The week-long event highlighted the UK’s world-class creativity, technological excellence, and diverse and unique storytelling, and spotlighted the strength of our sector, as well as marking the UK as a global destination for animation.

We would like to thank all of our partners and members for their support, and also extend our thanks to the MIFA team and our fellow delegates for such a wonderful week. We look forward to seeing you all again from 14-20 June 2026!

UK Screen Alliance at Cannes 2025

Earlier in May, UK Screen Alliance was kindly invited by the British Film Commission to attend the Cannes Film Festival to speak about the UK’s new visual effects tax credit in two special panel sessions.

• 

• 

On Friday, 16 May, UK Screen Alliance’s CEO Neil Hatton MBE participated on the panel “Crossing Channels: Production and VFX in the UK and France”, which was presented by the British Film Commission (BFC) in partnership with Film France-CNC. Neil was joined by Laurens Ehrmann (Founder & Senior VFX Supervisor, The Yard), Michael Illingworth (Founder & Creative Director, Vine FX), and Daphné Lora (Head of Film France – CNC) in a session moderated by Adrian Wootton OBE (CEO of the British Film Commission), which looked at the production, post-production and VFX strengths of the UK and France, and the many benefits of cross-border collaboration.

Speaking on the UK’s appeal, Neil highlighted recent reforms to the Audio-Visual Expenditure Credit (AVEC) and the new VFX tax credit uplift. With the UK now offering a 29.25% net rate for VFX, enhanced by an exemption from the 80% cap, and the new independent film tax credit of 39.75% for projects under £15 million, these offerings have strengthened the UK’s position as a global destination for VFX work.

My members in the VFX community are starting to see more enquiries and more people booking in. There are many reasons why you would want to use the UK, we’ve got the depth of talent and the track record of excellence.

Neil Hatton MBE, CEO of UK Screen Alliance

Apart from tax incentives, the discussion also covered topics such as continued decentralisation, and also looked at two case studies of cross-Channel collaboration in action.

Watch the full session below.

• 

• 

On Saturday, 17 May, the BFC and UK Screen Alliance presented “Working with the UK: A New Opportunity with Post-Production and VFX” panel at the UK Pavilion. The session included presentations from Neil and the BFC’s Adrian Wootton OBE and Gareth Kirkman (UK Business and Industry Development Manager), to introduce independent producers and filmmakers to the UK’s VFX and post-production infrastructure and highlighted how to access our tax incentives via the post and VFX spend.

Screen Scotland’s Isabel Davis (Executive Director, Screen) and Cheryl Conway (Head of Screen Commission) then followed up with a presentation on their recently launched Project Post Fund, designed to encourage large-scale film and TV productions to undertake their post-production and VFX work in Scotland. The competitive fund will support live-action and animated features, and live-action and animated high-end television drama or factual returnable series that demonstrate the ability to boost Scotland’s economy by bringing in high-value post-production and/or VFX work to Scotland; create inclusive employment opportunities for Scotland based crew and technicians; use Scotland’s post-production facilities for services such as editing, sound, VFX, and music scoring; support diversified skills development and career progression in Scottish post-production sector; and align with Screen Scotland’s broader strategic goals.

Watch the full session below.

Following the presentations, international producers, and representatives from award-winning UK post and VFX companies – including many UK Screen Alliance members – mingled over a networking breakfast in the Cannes sunshine.

Spotlight on…VFX and post-production in Bristol

This month, we take a deep dive into our members based in Bristol and its visual effects and post-production sector. Learn more about these studios and take a look at some of their recent projects.

Films at 59

• 

• 

Founded in 1990 by joint MDs Gina Fucci and Jeanne Thompson, Films at 59 has grown steadily in size with sites in both Bristol and Cardiff and collaborative working relationships worldwide. They offer kit rental and post-production facilities, with rolling new talent initiatives. In 2021, the company was transferred to an Employee Benefit Trust, transforming their team of expert collaborators were to shareholders.

They have delivered thousands of hours of content since launch and are approved suppliers for the major streaming platforms and channels worldwide, contributing to award-winning content filmed and broadcast across genres, at every scale, all over the world. On the post side, they have delivered across drama, entertainment, daytime, documentary and HETV, working on projects such as The Americas, Planet Earth III and The Great Celebrity Bake Off for Stand Up to Cancer.

See more about Films at 59 on their website here.

Lux Aeterna

• 

• 

Lux Aeterna is an award-winning studio that creates high-end VFX, specialising in simulation, environment, natural phenomena, crowds, and creative abstract FX. They offer services from pre to post-production, and a world-class pipeline and flexible shot management platform, with a dedicated R&D department. The studio is independently owned after more than 25 years in business, working across multiple territories, with an expansive and ever-growing foundation.

The team of artists produces content across television, film, brands, commercials, live events and digital media. They have worked on projects such as BAFTA and Emmy-winning The Surgeon’s Cut; Our Universe, which was nominated in the visual effects category at the 2023 Televisual Bulldog Awards; and Solar System, which won the RTS West of England award in the VFX & Digital Creativity category.

See more about Lux Aeterna on their website here.

Moonraker VFX

Established in 2013, Moonraker VFX is a studio set up and run by an experienced team of passionate and creative VFX specialists, led by Creative Director Simon Clarke and Managing Director Jon Grafton. It has built a strong local and international reputation with producers and broadcasters, creating award-winning visual effects content for television, film, commercials, museum and visitor attractions.

They have worked on projects such as Ancient Earth, Planet Earth III and Moonbase: The Next Step. In 2023, they were chosen as one of the Broadcast Best Places to Work in Television.

See more about Moonraker VFX on their website here.

Primary VFX

• 

• 

Founded in 2019 by four seasoned VFX supervisors, Joe Thornley-Heard, Jem Grimshaw, Steve Hawken and Mark Gregory, Primary VFX is an independent and creative-led visual effects studio, with extensive experience in film, television and commercials.

The purpose-built studio, now TPN Gold Shield certified, is designed for up to thirty in-house artists, with additional capacity for remote collaboration. The boutique setup fosters a vibrant and supportive environment where artists thrive, enabling close collaboration with clients to ensure every project receives top-quality service. They have worked on projects such as Damsel, Bodies and A Good Girl’s Guide to Murder.

See more about Primary VFX on their website here.

Spotlight on…Lux Aeterna: History and innovation

This month, we interviewed Rob Hifle, Co-Founder of Lux Aeterna.

Award-winning visual effects studio Lux Aeterna has cemented its place as a leader in the VFX industry with a year full of exciting projects and innovation. Working globally, the studio combines decades of expertise with a bold vision for the future. Known for its mastery of environments, simulation, natural phenomena, and abstract FX, Lux Aeterna continues to empower storytellers through its world-class pipeline and creative partnerships. We caught up with Co-Founder Rob Hifle to find out more.

What is the history of Lux Aeterna and how did the studio come about?

Lux Aeterna was established in 2022 after the rebranding of BDH (Burrell Durrant Hifle), a respected studio with over 25 years of experience. The transition to Lux Aeterna represented a reinvigoration of our creative vision, enabling the studio to focus on high-end VFX, particularly in simulation, environments, and natural phenomena. Two of the original founders, myself and Steve Burrell remained part of the team, and we were also joined by VFX Director Paul Silcox. With strong working relationships with industry powerhouses like Netflix and BBC Studios, and a legacy of BAFTA and Emmy awards, we’ve since repositioned ourselves to deliver visually compelling stories for TV, film, and commercial production on a global scale.

How is Lux Aeterna adapting to the ever-changing landscape of VFX?

For the past five years, we’ve been placing a considered focus into R&D and thanks to our Creative Technologist, James Pollock, we’re following advancements in tech, ethics, and best practice very closely. In tandem, our participation in the UKRI funded MyWorld programme has highlighted our ongoing commitment to innovation.

As an example, in our recent work on Netflix’s The Manhattan Alien Abduction, we adopted new machine learning techniques within our VFX pipeline to reduce render time by 60-70%. This more efficient pipeline greatly reduced the studio’s carbon footprint due to the shorter render time, and formed part of the larger industry-wide push towards more sustainable practices in VFX.

Tell us more about Lux Aeterna’s involvement with the UKRI-funded MyWorld programme?

The MyWorld programme, a creative technology research initiative based in the West of England, has been instrumental in our exploration of Machine learning and AI in VFX. Through our participation in MyWorld, we are exploring the ethics of GenAI practices. By collaborating with leading experts in technology and law – such as during our recent World VFX Day panel with Neil Hatton, CEO of the UK Screen Alliance – we continue to work alongside our partners to understand the ever changing landscape of creative technology.

What is RENO?

RENO is a science-fiction short film created by Lux Aeterna as part of our research within the MyWorld programme. The project serves as a testing ground for AI technologies, enabling the studio to experiment in a controlled environment. Beyond its creative ambitions, RENO aims to demystify AI’s potential and demonstrate how it can enhance, rather than disrupt, VFX artistry.

What were the biggest highlights for the studio in 2024?

We worked on a number of high-profile projects this year that we’re incredibly proud of. These included Professor Brian Cox’s BBC2 series Solar System, Netflix’s The Manhattan Alien Abduction, the sixth and final season of The Crown, Secrets Of The Neanderthals, and more recently, National Geographic docu-series Tsunami: A Race Against Time. Beyond these achievements, members of our team participated in a number of industry events, such as SIGGRAPH’s Rainbow Conference, AI Creative Summit, BFX Festival, and marked World VFX Day with a panel addressing the ethical and intellectual property challenges of generative AI in visual effects.

Tell us about your recent work on the BBC2 docu-series Solar System. What was the scope of work?

For Solar System, we delivered over 400 visually stunning VFX shots across five episodes, showcasing planets and scientific phenomena in ways never seen before. The work included creating photorealistic environments based on scientific data, such as Jupiter’s electric storm clouds, Uranus’s superionic ice, and Titan’s methane seas. Many planetary surfaces had to be visualised from scratch, requiring meticulous collaboration with scientific experts.

What does 2025 look like for Lux Aeterna?

Next year promises to be an exciting year for Lux Aeterna. With the introduction of the tax relief on UK VFX expenditure brought forward to January, investment in advanced VFX technologies will be boosted, positioning the UK, and studios like Lux Aeterna, as global leaders in the field. We will likely continue our R&D efforts while expanding our portfolio of projects, furthering our mission of high-end cinematics and emotionally compelling stories through VFX.

Find out more about Lux Aeterna’s recent projects here.

Manchester Animation Festival 2024: Animation Nation Forum

This year’s Manchester Animation Festival ran from 10-14 November. From insightful panels to engaging networking events, take a look back as we recap the Animation Nation Forum.

Animation UK recently travelled up to Manchester to celebrate the Manchester Animation Festival (MAF), where we held our monthly members’ meeting, bringing together familiar faces both in-person and online, and where we were delighted to sponsor the MAF 2024 industry day, Animation Nation Forum (ANF).

ANF took place at the Bridgewater Hall on Thursday, 14 November, and was curated to debate, discuss and inform the industry on the landscape of animation. The day consisted of intriguing talks, a marketplace, a new B2B meeting event, a welcome breakfast sponsored by Animation UK, networking opportunities, and celebratory drinks to round off the festival.

• 

• 

• 

• 

We started off the day by hosting the Welcome Breakfast, where members and fellow ANF attendees mingled over some coffee, tea and pastries. Kate O’Connor, Executive Chair of Animation UK, delivered a short introduction, highlighting how the ANF has become a cornerstone event in the industry’s annual calendar – a time to celebrate achievements and reflect on the ways forward. She acknowledged the challenges of a tough year, but emphasised emerging signs of optimism. Kate also shared her enthusiasm about the positive impact of the newly introduced tax reliefs, which are already making a tangible difference in the sector and that Animation UK will continue to pursue all avenues to ensure continue to produce, own, and grow our content and businesses.

Following the breakfast, 9 Story Media Group’s Senior Vice President of Distribution & Acquisitions Alix Wiseman delivered this year’s Animation Keynote. The keynote touched upon international distribution, content partnerships, and the opportunities in animation today, especially in the evolving digital-first landscape.

This topic was further explored in the following panel “In the Frame: New Opportunities in Animation”, featuring Jiella Esmat (8 Lions), Richard Chaney (Piranha Bar), Jon Mason (Jollywise) in conversation with Jo Redfern. The panel explored how animation is finding homes on a diverse range of platforms, from streaming sites to online applications, and how we can embrace this to unlock fresh possibilities beyond the traditional routes.

We also participated in the newly introduced ANF Connect. ANF delegates had the opportunity to meet one-on-one with the Animation UK team to learn more about the work we do and to ask any questions. It was great to meet many new faces!

In the afternoon, we shifted our focus towards a more global outlook in the panel “Collaborating Across Continents: The Future of International Co-production”. Iván Agenjo (Peekaboo Animation), Sean Henry (Warner Bros.) and Denitsa Yordanova (British Film Institute – BFI) chatted with Chris Rose about what international co-production entails, sharing insights and useful resources.

The BFI launched ScreenUK earlier this year, and which represents the UK screen sector’s national and regional agencies at key international festivals and markets. On its website, there are useful directories – including a list of UK producers interested in co-production, and a list of UK broadcasters – as well as details on how to co-produce with the UK. See the “Working with the UK” section for further details and information on how to be listed in the directories.

• 

• 

In the final session of ANF, Charlotte Bavasso (Nexus Studios), Kate O’Connor (Animation UK), Sueann Rochester (Wild Child Animation), Tanya J Scott and Mark Taynton (Warner Bros.) answered hard-hitting questions about the current industry landscape in the “State of the Animation Nation” panel. Debated statements included:

• Survive to 25 mentality is damaging to industry;
• UK needs to take animated advantage of its adult comedy heritage;
• Hurdles within the industry are higher than ever;
• Reliance on public funding is creating a postcode lottery for productions;
• Cultural power of UK animation cannot compete with generous tax incentives offered worldwide;
• Opportunities for optimism.

• 

• 

The winners of the 2024 MAF Awards were announced later that evening at the awards ceremony, hosted by comedian Alasdair Beckett-King. Congratulations to all the winners! See the full list here.

• 

• 

We wrapped up our day of great discussions at the ANF Drinks Reception, sponsored by King Banana TV, and celebrated even more at the AfterMAF.

Thank you to Manchester Animation Festival for your hospitality and for hosting such intriguing panels and events. It was a lovely experience and we look forward to seeing everyone again next year!

The Children’s Media Conference 2024

The Children’s Media Conference (CMC) ran from 9-11 July in Sheffield this year. Featuring a variety of engaging debates and insightful panel discussions, take a look back at the conference, as we recap some of the highlights.

Animation UK recently returned to the Children’s Media Conference in Sheffield. The three days of the conference were filled with pitching sessions, networking opportunities, receptions and panels, ranging from discussions on how to navigate the current industry landscape with the lack of commissioning and post-strikes, to the importance of content in children’s education, and the future of kids’ content in the hands of the newly elected Labour government. The conference was attended by 950 delegates and featured 200 speakers and hosts.

• 

• 

Saxophonist and Broadcaster YolanDa Brown OBE delivered this year’s Opening Keynote, and the Creative Keynote was given by Nora Twomey, Partner and Creative Director of Cartoon Saloon. It was announced during the Opening Keynote that after securing key sponsorship from legal firm Mishcon de Reya, CMC are set to launch its inaugural Bursary Scheme for next year’s conference, reaffirming its commitment to enable young people from disadvantaged backgrounds to get their first foot in the door of the industry.

Other speaker highlights included The Last Word, which was delivered by Musician, Actor and Author Nandi Bushell, and CMC’s Changemakers – young people who are achievers, innovators or campaigners with something to say to the conference attendees. This year’s Changemakers were Melissa Cassidy, Bethany Handley, Moksha Roy, and Conor Warren. Moksha delivered a speech on sustainability and climate change during the Opening Keynote. Learn more about these talented individuals here.

• 

• 

• 

• 

Animation UK sponsored the Animation Assemble: Anatomy of a Hit panel on the Thursday, which was produced by Shannon Reeve (Blue Zoo) and Kate O’Connor (AUK), and executive produced by Tracy Liddell (Studio Liddell). During the session, Julian Bashford (Visionality), Ian France (Sky Kids), Emma Hardie (Aardman), Laura Henry-Allain, and Adam Shaw (Blue Zoo) unravelled the secrets behind animated hits with moderator/host Tim Searle (Tim Searle Animation).

The panel looked at beloved animations such as JoJo & Gran Gran, Ready Eddie Go!, The Brilliant World of Tom Gates, Shaun the Sheep and BooSnoo!, to explore what transforms them into instant classics that kids love. Topics discussed included what sets a project apart in terms of discoverability and uniqueness; taking the next step to expand the IP; and the importance of content in educating and representing its youth audience.

In case you missed it, CMC attendees will soon be able to watch the recorded panel session here, using your registration details. Read the CMC’s in-depth report on Animation Assemble here.

• 

• 

• 

• 

Noteworthy sessions on the Wednesday featuring our members included:

• Question Time, where Magic Light Pictures’ Michael Rose answered pressing questions from the audience on the Online Safety Act, what our sector would like to see with the Labour government, and the refreshed tax relief;
• Put Your Money Where Your Mouth Is, where ALT Animation’s Matthew Bradley pitched an exciting new project;
• There’s Gold in Them There Hills, where Paper Owl Films’ Gráinne McGuinness and Wild Child Animation’s Sueann Rochester discussed how to access regional funding, training and support to develop and elevate projects to the next level;
• Balancing Business and Creative, where Acamar Films’ Mikael Shields gave insights into how to balance creative vision with the business skills needed to set up and run a successful enterprise;
• Practical AI, where Blue Zoo’s Tom Box explored how we can use AI tools to empower human creativity within children’s media, keeping emotional intelligence and human values at the core;
• Bossing It!, where King Banana TV’s Lotte Elwell and Katie Simmons, and Plus 3K Animation’s Lou Kneath gave tips on what to know about starting and running a company;
• and Global Opportunities for IP in Kids’ Audio, where Blue Zoo’s Stephanie Gauld gave insights into the audio market and how IP owners and brands can seize abundant opportunities in this multi-platform landscape.

• 

• 

Engaging sessions on the Thursday featuring our members included:

• Digital Distribution: Everything, Everywhere?, where Blue Zoo’s Nathan Wilkes discussed insights and practical tips for defining a winning audience engagement strategy for brands;
• The CMC Debate: YouTube or Bust!, where Aardman’s Laura Taylor-Williams gave her thoughts on the practicalities of going to platforms where children are consuming media;
• and Inclusivity Now: Beyond Box Ticking, where King Banana TV’s Lotte Elwell delved into how to identify and dismantle systemic barriers, implement meaningful mentorship programs, and create a workplace culture that truly values diverse perspective.

• 

• 

We also attended the CMC’s opening drinks reception and annual party, enjoying the festivities with other conferencegoers and singing the night away with classical tunes at karaoke.

We would like to thank the CMC team, the panellists and our fellow conference attendees for a wonderful few days. We look forward to seeing you all again in Sheffield next year!

For more information about CMC, visit their website here.

Animation UK creates new worlds at Annecy 2024

The UK Pavilion was brought to life by Animation UK and supported by the British Film Institute, the Department for Business and Trade, Film London, Creative Wales, Northern Ireland Screen and Screen Scotland.

Animation UK returned to Annecy, France, from 11-14 June to host the UK Pavilion, “Animation UK: Creating New Worlds”. The stand was organised by Animation UK and powered by the British Film Institute, with National Lottery funding. Additional support was provided by the Department for Business and Trade, Film London, Creative Wales, Northern Ireland Screen and Screen Scotland.

In the heart of MIFA, the UK Pavilion proved to be a key hub for delegates, with more UK animation companies than ever visiting, hosting meetings and networking, amidst the panels that showcased some of the achievements of our sector over the past year. This was not just a gathering, but an overarching celebration of the UK’s animation prowess.

Reflecting our broad geographical base, representatives from Wales, Scotland, Film London, as well as the BFI (the UK Global Screen Fund and the BFI Certification Unit) and the DBT attended event, each highlighting their regions and organisations. The UK Pavilion proved its value, hosting over 241 scheduled meetings and countless impromptu walk-ins.

The past year has seen our animation industry produce beautiful features, funny and smart TV series, and captivating short films, all of which have cemented the UK’s reputation for world-class creativity, technological excellence, and storytelling. With the recent boosts in tax credits fuelling the industry, the UK animation sector’s appeal and strength were felt throughout the week-long event.

A total of fifteen UK productions were shortlisted at this year’s Annecy Festival, with two projects from the UK taking home awards. Congratulations to [s] (dir. Mario Radev) for winning the Jean-Luc Xiberras Award for a First Film in the Short Films category, and Pictoplasma “Opener 2023” (dir. Will Anderson) for winning the Cristal for a Commissioned Film in the TV and commissioned films category. See the full list of this year’s winners here, and the full list of the shortlisted UK projects at the end of the recap.

To start off the week, Kate O’Connor, Animation UK’s Executive Chair, participated in the 8th Annual WIA World Summit. The topic of the panel “Harnessing New Business Models to Navigate Animation’s Future” was to explore the industry’s evolving business models and how these models can be leveraged to attain gender justice in animation. If you missed it, watch the recorded session here.

During the week, on behalf of Animation UK, Kate held meetings with representatives from a range of other countries and markets to establish stronger strategic partnerships. These included: Malaysia, India, Ireland, India, Animation In Europe and others. 

On Tuesday, Animation UK hosted our own reception at the stand, where more than 130 UK delegates registered, with many more MIFA attendees turning up on the day. With the drinks and conversations flowing, the evening saw both new and familiar faces, united in celebrating the UK animation sector.

On Wednesday, Animation UK hosted a special Meet & Greet session with Locksmith Animation. The company’s top execs and key creatives from the upcoming Netflix/Locksmith release That Christmas, including director Simon Otto and writer/executive producer Richard Curtis, mingled with MIFA attendees on our sunny terrace to chat about their film, and had productive discussions on topical issues in the UK animation sector. Thanks to the Locksmith team for the great conversations and for their time!

On top of our own events, the week was packed with other activities, with Animation UK attending events such as Blue Zoo’s reception at the UK Pavilion. This reception celebrated the launch of Mojo Swoptops, the brand new CG-animated comedy action preschool series from the animation studio and Tararaboom, which is set to premiere on CBeebies this autumn. 

Other events included receptions hosted by Magic Light Pictures, Netflix, DNEG Animation, Festivus, Animation Scotland, Locksmith Animation and Passion Pictures.

We would like to thank all of our partners, sponsors and members for their support, and also extend our thanks to the MIFA team and our fellow delegates for hosting such a wonderful week. We look forward to seeing you all again from 8-14 June at Annecy next year!

---

UK films in competition at Annecy 2024

Short Films

[s] – WINNER

• Directed by Mario RADEV
• Produced by Mario RADEV

Graduation Films

Adiós

• Directed by José PRATS
• Produced by NFTS – NATIONAL FILM AND TELEVISION SCHOOL, Bernardo ANGELETTI

I Wanna Be a Statue

• Directed by Harvey AUERBACH-DUNN
• Produced by RCA – ROYAL COLLEGE OF ART, Harvey AUERBACH-DUNN

Minus Plus Multiply

• Directed by Chu-Chieh LEE
• Produced by RCA – ROYAL COLLEGE OF ART, Chu-Chieh LEE

To the Brink

• Directed by Hugo DOCKING
• Produced by UNIVERSITY OF THE WEST OF ENGLAND, Julia BRACEGIRDLE

TV films

A Bear Named Wojtek

• Directed by Iain GARDNER
• Produced by THE ILLUMINATED FILMS COMPANY, Iain HARVEY, FILMOGRAF LTD, Wlodzimierz MATUSZEWSKI

Pip and Posy Let’s Learn “All About Butterflies”

• Directed by Leigh FIELDHOUSE, Joanna HEPWORTH
• Produced by MAGIC LIGHT PICTURES, Vici KING

Tabby McTat

• Directed by Sarah SCRIMGEOUR, Jac HAMMAN
• Produced by MAGIC LIGHT PICTURES, Barney GOODLAND, MAGIC LIGHT PICTURES, Michael ROSE

The Very Small Creatures “The Farm”

• Directed by Lucy IZZARD
• Produced by AARDMAN, Robert FRANKLIN

Commissioned Films

Alzheimer’s Research UK “Change the Ending”

• Directed by AGAINSTALLODDS
• Produced by PASSION PICTURES, Matt SAXTON

Federal Ministry – BMK “The Madhouse”

• Directed by Nella ADDY, Rogan VAN DEN BERG, Ross COOPER
• Produced by FERAL CHILD, Nella ADDY, Rogan VAN DEN BERG, PPM NEXT, Sebastian LARROSA-LOMBARDI, Olga NEPOMENKO, Anna TEUFNER

Pictoplasma “Opener 2023” – WINNER

• Directed by Will ANDERSON
• Produced by Will ANDERSON

The Lords of Water “Launch Film”

• Directed by Ingi ERLINGSSON, Stefan FALCONER, Charles BIGEAST
• Produced by GOLDEN WOLF, Dotti SINNOTT, GOLDEN WOLF, Tan JONES, GOLDEN WOLF, Heidi STEPHENSON

We Campaign Because They Can’t

• Directed by Dane WINN
• Produced by BLUE ZOO ANIMATION STUDIO, Damian HOOK, BLUE ZOO ANIMATION STUDIO, Tom BOX

WWF “Up in Smoke”

• Directed by Yannis KONSTANTINIDIS
• Produced by NOMINT MOTIONDESIGN, Marilena VATSERI

UK Screen Alliance 20th anniversary gala: highlights

Take a look back at the UK Screen Alliance 20th anniversary gala and awards ceremony, which took place on 25 April 2024 at Stationers’ Hall in London.

Use the code Animation to view and download the photos. Photos by David Jones Photography.

• 

• 

• 

• 

• 

• 

• 

• 

If you missed it, read about the Outstanding Contribution award winners here and read CEO Neil Hatton’s keynote speech here.

Thanks to everyone who joined us in the celebrations, and thanks again to our sponsors, Tysers Live, Simons Muirhead Burton, LucidLink, Percy & Warren and Salon for their support. We hope you enjoyed yourselves!

A brief history of UK Screen Alliance

2024 marks twenty years since UK Screen Alliance was first established. Audrey Lai, PR Coordinator, takes us on the company’s journey through the decades.

On the eve of the 4th of March in 2004, at BAFTA, London, post-production and VFX companies came together to discuss the formation of a much-needed trade body. This was the beginnings of UK Post, and twenty years on, it has evolved to be the UK Screen Alliance.

Before 1999, the UK facilities industry was represented by a chapter of the International Teleproduction Society (ITS), a US-based trade association, but when the ITS folded, the UK chapter went out on its own as the Image Industry Alliance (I2A). The I2A was short-lived due to a lack of funding, but its Engineering Committee survived to become the Chief Engineers of Facilities Forum (ChEFF), a stand-alone organisation that represented the TV facilities sector on technical and engineering matters.

As the post-production sector grew, there became an apparent need to have a uniform voice to advocate on behalf of post-production companies to Government, broadcasters and other industry bodies on fiscal, legislative and workforce issues. In November 2003, the UK Film Council (UKFC) and the Department of Trade and Industry (DTI) conducted a survey, in which more than 96% of post-production companies backed the creation of a new industry organisation to represent the sector. Thus, following the initial open meeting at BAFTA, a new post-production trade body was formed.

Set up with seed funding from the DTI, the aim of the new body, then called UK Post, was to represent the sector to Government, identify and tackle skills gaps within the sector; provide support to a sector, which was predominantly made up of small and medium-sized businesses; and market UK facilities on a global landscape.

Industry veteran and founder of The Moving Picture Company, Mike Luckwell was appointed as chairman, and Gaynor Davenport, led the association as its first CEO. The founding board members, were Colin Brown (Chairman of Cinesite), Neil Hatton (Managing Director of Frontier Post), David Jeffers (Managing Director of MPC), Mike Kelt (Chief Executive of Artem Visual Effects), Charlie Leonard (Managing Director of Nats), Nicky Sargent (Joint Chief Executive of The Farm Group), William Sargent (Chief Executive of Framestore CFC) and Dennis Weinreich (Managing Director of Videosonics). Within the first two months of its establishment, 70% of the top fifty post & VFX companies, as well as, the BBC, ITV and a number of emerging companies were signed up as members of UK Post, confirming the need for a trade body.

During the early days, the main focus of UK Post was to identify common causes and gain consensus from working groups. UK Post was engaged in a variety of issues, ranging from discussions on the BBC Charter Review, tax incentives for film, and visas for overseas talent.

Launched by UK Post’s audio working group in 2006, the Conch Awards were designed to recognise achievements in audio post production. The first of its kind, the awards highlighted the strength of UK sound companies and talent, and united the industry to celebrate the individuals involved in this important part of the post-production process. Not only did the awards have a significant impact on the global awareness of the talent in the UK, but they also encouraged UK companies to look more closely at the diverse talent right on their doorstep.

In 2007, UK Post was rebranded to the more inclusive UK Screen Association, as it expanded its remit to advocacy for UK service companies in the film and television screen industries, instead of solely focusing on post and VFX companies.

The following years were a tumultuous time for the industry, as it was impacted by the Writers Guild of America strike in late 2007, then the 2008 recession. The conditions were not dissimilar to those being experienced now. During this period, there was a significant decrease in inward investment films in 2008 to £338 million, compared to £523 million in 2007. As these films accounted for the majority of total UK production spend – 58% in 2008, 69% in 2007 – its impact on this side of the pond did not go unnoticed.

UK Screen published the UK Facilities Report in 2010, to comprehensively map the UK facilities sector. This vital piece of research qualified the activity, employment, expenditure and value in the sector to a more granular level than had been done before, emphasising the need for good data to underpin advocacy for policy change.

In 2012, Sarah Mackey, previously Director of Strategy at BBC Studios and Post-Production, took on the role of CEO of the association. Sarah’s tenure coincided with consultations on a new tax relief for High-End TV, and UK Screen Association was part of a coalition of organisations that campaigned for its introduction. It was also a time of technological change with the transition to file delivery of TV programmes, and UK Screen liaised with the broadcasters over the adoption of common delivery standards proposed by the DPP.

In 2016, Neil Hatton assumed the CEO role. Former owner of Frontier Post and a founding board member at the inception of the association, Neil has steered the group through the turbulent times of Brexit, the COVID-19 pandemic, the subsequent boom, and then, another halt due to the US actors’ and writers’ strikes.

Also in 2016, having formed as a voluntary advocacy group for the animation sector to press the case for animation tax relief in 2012, Animation UK was seeking to become a fully-formed trade body and had commissioned consultants Kate O’Connor and Helen Brunsdon to explore all options and consult with the industry. Neil simultaneously reached out to the Animation UK Chair and Blue Zoo MD, Oli Hyatt, to suggest joining forces. Luckily, the animation industry agreed and the rest is history.

UK Screen Association rebranded once again to be known as the UK Screen Alliance. As an alliance, and retaining the Animation UK brand and a separate Animation Council, the new partnership reflected the policy differences, as well as, large areas of shared interest, with many of the skills, roles, benefits and challenges crossing over from one sector to the other. By joining up forces, the Alliance was able to become more efficient and develop stronger policies that benefited both parties. Initially, with Helen as Director, before she left to run the British Animation Awards (BAAs), and Kate as Executive Chair of Animation, Neil Hatton became overall CEO of UK Screen Alliance and continues to head up the existing facilities remit to this day, while Kate continues to lead the work and representation of Animation UK.

The COVID-19 pandemic reaffirmed like never before, the need for an industry body. Its value as a support network for the industry came to the fore, as its members turned to the weekly online meetings for guidance and reassurance during those testing times, with more than 60 companies tuning in each week. UK Screen Alliance then authored the COVID guidance for post, VFX and animation, which allowed companies to get back to work safely.

A recurring theme of advocacy by UK Screen Alliance has been to ensure that the tax incentives for our sector are effective and optimised for growth. Animation UK has campaigned and secured a net rate of credit of 29.25% in the new animation Audio-Visual Expenditure Credit (AVEC), which is a 4.25% increase on the existing Animation Tax Credit. Animation UK also succeeded in making the case for animated features to be included in the new animation AVEC, which came into effect on the 1^st of January this year.

UK Screen’s long-running campaign for a reform of the Film and High-End TV tax credits to aid VFX, finally resulted in a commitment from the Chancellor of the Exchequer in the 2023 Autumn Statement for “a more advantageous additional tax relief for expenditure on visual effects”. Following a Call for Evidence, the Government is expected to announce its proposal in the Budget this week.

Now, twenty years since the first inaugural meeting, UK Screen Alliance has grown in size, as the leading membership body and voice of over 180 leading employers in the sector. Though it has undergone many changes over the last two decades, the Alliance’s aims remain true to those stated at its inception back on this day in 2004: to advocate on behalf of the industry to represent their views at the highest levels, and to enhance the business environment in the UK, so that these sectors flourish and grow to achieve their full potential. Looking back at its history, many achievements have been made and the industry has progressed together as a whole. While there is still more to be accomplished, as there always will be, it is also important to remember where it all started and how far the Alliance has come.

To honour the 20th anniversary of UK Screen, the Alliance will be celebrating in style with a gala dinner and an awards ceremony on the 25th of April at Stationers’ Hall in London. The event will also celebrate the more recent partnership with Animation UK and their collective achievements.

As the Alliance continues to expand its services and make strides in its advocacy to represent the sector, it would like to take a moment to thank its members and its hardworking representatives who have joined them on this journey over the last two decades, whether it be from the very start or recently in the last few months – without every individual’s support, dedication and commitment, UK Screen Alliance would not be where it is today.