Animation Scotland marks three years with bold new brand and global ambitions

Animation Scotland has unveiled a dynamic new brand identity to mark its three-year anniversary and signal a confident new chapter for the country’s animation and VFX sector.

The refreshed brand and positioning, launched with support from Screen Scotland, cement Animation Scotland’s commitment to championing local creative excellence while elevating Scotland’s presence in the global industry.

The milestone is being celebrated on the international stage at MIFA 2025 in Annecy, France, the world’s leading animation market, where Animation Scotland is showcasing its bold new positioning and a united studio network under one powerful creative banner.

Scotland is home to world-class animation and VFX talent. This new identity reflects our collective strengths, our ambition, and our growing influence in the global market. It’s not just a new look, Animation Scotland’s new identity reflects our evolving role as the national voice for a dynamic industry, championing talent and breaking down barriers to help animation thrive.

Sueann Rochester, Board Chair at Animation Scotland

Since launching in 2022, Animation Scotland has worked to unify and amplify the voice of Scotland’s animation and VFX sector, strengthening collaboration across studios. Through partnerships with organisations such as Screen Scotland, Scottish Enterprise, and Dash Accounting Services, the organisation has laid the groundwork for a thriving national network. It has also developed strong relationships with academic institutions to support graduate employment and futureproof the sector’s talent pipeline.

As an active supporter of Animation UK, Animation Scotland also contributes to UK-wide campaigning for industry growth and investment. This collaboration strengthens the case for policy change and strategic support across the nations, aligned with Animation UK’s manifesto priorities such as increasing investment in original UK content and fostering a sustainable talent pipeline.

Industry engagement has been central to this strategy, with Animation Scotland representing the country at major national and international events including MOVE Summit, Glasgow Film Festival, Manipulate Arts, and the World Animation Summit. Most notably, Animation Scotland has played a key role in attracting international investment, such as the recent arrival of Halon Entertainment, demonstrating that Scotland is not only creatively strong but also commercially ready.

Screen Scotland has worked with Animation Scotland to enable them to take this next step in their invaluable work. This is the first time Scotland’s animation sector has been showcased in this way at an international market – a clear indication that animation in Scotland continues to grow. This momentum in the sector reflects the international reputation of Scotland’s highly skilled animation and VFX workforce, who continue to work on globally significant content as well as exciting local productions.

David Smith, Director of Screen Scotland

At this year’s MIFA, this mission takes center stage. Visitors to Stand B.02 will experience not only the strength of Scotland’s animation sector but also the spirit of its identity. A bespoke Animation Scotland tartan will be present, along with a partnership with Raasay Distillery and Edinburgh Gin to bring a true taste of Scotland to France. 

MPTS 2025 celebrates largest edition ever with record visitor numbers

The UK’s most powerful hub for the creative industries united for two days of engaged networking, passionate debate and exceptional insights into AI, the creator economy, production craft and more – helping attendees stay ahead-of-the-curve for the year ahead.

After two exceptional days of conversation, collaboration and community, the biggest and buzziest MPTS yet welcomed a record 13,000 attendees from 50 countries, uniting the UK’s media and entertainment industry together in the heart of London, like never before.

Hosted at London’s Olympia on 14 – 15 May, the red-hot editorially driven programme delivered 100+ free-to-attend sessions across eight theatres, showcasing the insight and passion of more than 350 expert speakers and guest keynotes. The bustling show floor was packed with more than 300 exhibitors and sponsors, showcasing imagination, determination and standout talent of the UK’s creative and technical communities – at a time of both global challenge and immense opportunity.

Setting the agenda for MPTS, a State of the Nation Production keynote outlined a media and entertainment landscape in which storytellers had to embrace screens, formats and creators of all kinds. “TV doesn’t exist anymore in the way we knew it,” asserted Kate Beal, CEO, Woodcut Media. “We are in the middle of a decade of profound transition, and we’re past the tipping point,” said Derren Lawford, CEO, Dare Pictures. “TV is part of a wider, connected series of industries around the creation and distribution and funding of content.”

Headliners at MPTS included:

• Producer and presenter Ross Kemp, who took us on an exhilarating tour of investigative documentaries on the front lines of conflict, drug cartels and organised crime gangs. “They will know in a second if you are not telling the truth,” he said. “I specialise in telling the truth, it is as simple as that.”
• Georgie Holt, whose company Flight Story produces the world’s second biggest podcast ‘Diary of a CEO’, declared “We are in the era of the Founder Creator” — creators who are now in charge of media content and able to monetise spectacularly outside of traditional gatekeepers.
• NFL professional turned American Football broadcaster Jason Bell explained how sports coverage was evolving into the F1 Drive To Survive model, in which athlete personalities and back stories were the keys to growing audiences.
• Blockbuster editor Eddie Hamilton gave a masterclass about the precision involved in making Top Gun: Maverick and five Mission: Impossible movieswith Tom Cruise. He said, “Every nuance is refined hundreds of times. Sometimes we watch a 10-minute scene 40 times in a day, checking to see where your eye is moving in the frame.”

Diverse representation is a vital sign of the industry’s health and MPTS is proud to set the benchmark to secure equal representation and attendance from the next generation, not only across the programme, but also something clearly witnessed across the show floor amongst exhibitors and attendees.

MPTS also prioritises the crucial importance of sustainability and, in continuing association with BAFTA albert brought this conversation to the fore with experts including Jimmy Keeping, director and co-founder of Sustainable Film; Nazia Zaman, Warner Bros. Discovery; Junaid Baig, Dimension Studio; and Claire O’Neill, A Greener Future, speaking in the Sustainability Series.

MPTS is a really key moment in our calendar. It is always so great to connect with suppliers, companies, studios and creatives who share our common passion for sustainability within screen industries. It has also been really valuable to curate our sustainability series of panels across this year’s show, we’ve had some really insightful discussions and emphasised the importance of environmental focus throughout the screen industries.

Sam Street, Marketing Officer at BAFTA Albert

The brand-new ticketed AI Training programme and the expanded AI Media Zone drew exceptional attendance, with exhibitors such as Dot Group, Moments Lab and Software. Conversations in these packed-out sessions revolved around the impact of AI from ideation to VFX, featuring real-world insights and discussions on bridging the gap between theory and practice from speakers including Pete Archer, BBC; Jon Roberts, ITN and Damien Viel, Banijay Entertainment.

With a record number of exhibitors already rebooking for 2026, MPTS continues to prove its value as the UK’s number one event for media and production professionals, where brands, creatives and decision-makers come together to connect, collaborate and grow.

Without doubt, 2025 was the most stimulating, ahead-of-the-curve MPTS yet. At a time when we are seeing the industry under real pressure from budget cuts to talent shortages and perpetual change, the conversations and connections on the show floor were positive and demonstrated infectious community spirit. The level of attendance and the quality of attendees from across all sectors of the industry was incredible – not just stakeholders in technology but representatives from production and commissioning, the creator economy, those new to the industry and freelancers were all brought together by MPTS under one roof.

A huge amount of work goes into making sure that there is equal representation across our extensive conference programme. I am proud that MPTS is one of – if not the – most diverse shows both in terms of attendees and panellists.

Thank you to everyone for exhibiting, sponsoring, speaking, attending and engaging with the show to make MPTS such a thrilling success. We are already planning for 2026, which marks MPTS’ 10th edition, so look forward to a landmark celebration!

Charlotte Wheeler, Event Director at MPTS

Save the date for MPTS 2026 which returns to Olympia Grand Hall, London on 13 – 14 May 2026.

MPTS is more than just two days a year – it’s a connected, year-round community for the broadcast and media industry. From on-demand content to exclusive events, there’s still so much to explore. Stay connected here: https://www.mediaproductionshow.com/register-interest

To enquire about exhibiting at the landmark 10th edition, please go to: https://www.mediaproductionshow.com/stand-enquiry

MPTS 2025: Where Post, VFX and Production Technology converge

MPTS returns to Olympia London on 14-15 May, offering two packed days of insight, innovation, and industry connection for the UK’s screen sector.

With over 100 free sessions across eight theatres, MPTS is the UK’s largest event for professionals working across broadcast, post-production, VFX, studio operations, and content creation. For UK Screen Alliance members, it’s a unique opportunity to explore how technology is evolving the craft of screen storytelling.

The Audio Theatre features sessions with direct relevance to post and creative audio teams, including Black Mirror S7: Sound-Led Storytelling, a behind-the-scenes look at how sound design shaped the latest season’s tone and impact. Also in the spotlight is The Future of Audio: State of the Nation, which explores immersive formats, AI-assisted workflows, and new standards in spatial sound.

The Post-Production Theatre hosts case studies and technical insights into evolving workflows, with discussions covering HDR, Dolby Vision, finishing pipelines, and cloud-enabled post services.

In the Broadcast Tech and AI Media Zone theatres, expect deep dives into real-time pipelines, remote production infrastructure, and how generative AI is beginning to influence VFX, editorial, and asset management.

On the show floor, you’ll find 300+ brands including Blackmagic Design, AJA, ARRI, Canon, Pixotope, Calrec, and CVP, offering demos of the latest tools across grading, media orchestration, and virtual production.

Whether you’re a CTO, colourist, pipeline supervisor or creative lead, MPTS delivers the future-facing knowledge and tools to help you stay ahead in a rapidly evolving industry.

Register for free today here.

Media Cymru to host leading animation and game-making talent in Cardiff

This is part of the “Innovators in Residence” programme running on 13-14 May.

Welsh Media consortium Media Cymru is set to host the latest in a series of special “Innovators in Residence” events, which will see its base in Cardiff play host to some of the UK’s leading animation, film-making and storytelling specialists.

During the two-day event series, innovation experts from Aardman Animations and beyond will share their knowledge on stop-motion animation, game making and storytelling through a series of interactive workshops, project deep dives and Q&A sessions.

Alongside Dan Efergan, guests will be joined by four additional special guests with their own expertise: David Gray, Eve Bolotova, Jon Quinn and Joshua Baldwin representing companies including MyWorld, The Chinese Room and Breaking Change.

Media Cymru’s “Innovators in Residence” programme brings expert innovators to the Cardiff Capital Region, providing opportunities for engagement with expertise from across the world. The series of free hosted events enables knowledge exchange and provides insights that develop new knowledge, skills, and ideas to support the innovation activity taking place in the Cardiff capital. It is delivered though masterclasses, workshops, arranged meetings and incoming trade missions.

Spaces are limited, but free spaces are available here.

Full programme announced for MPTS 2025

An exceptional line-up of talent and thought leaders address the most pressing challenges and exciting opportunities facing our industry in expertly curated free seminar programme.

MPTS 2025 is set to redefine industry engagement with an exceptional line-up of guest speakers, essential State of the Nation debates and an array of expertly curated attractions, including a brand-new, ticketed AI Training programme. The UK’s premier event for the media and entertainment industry, which takes place 14 – 15 May 2025 at Olympia’s The Grand Hall, also responds to exceptional demand from its 2024 show for insight into artificial intelligence by unveiling an expanded gallery area. This includes a larger AI Media Zone, with a growing number of AI-focused exhibitors, and networking opportunities offering visitors an enhanced and immersive experience.

Acclaimed actor and award-winning documentary maker Ross Kemp joins MPTS in an exclusive conversation charting his extraordinary career, the challenges of filming in high-risk environments, and the responsibility of storytelling in shedding light on global issues.  Oscar and Bafta-nominated film editor Eddie Hamilton talks through his craft and career ahead of the release of his latest project – Mission: Impossible – The Final Reckoning in a special presentation. They join dozens of well-known industry figures, including NFL star and broadcaster Jason Bell on the MPTS stage. Further keynotes take us Behind the Sparkle of making Strictly Come Dancing week by week with director Nikki Parsons, hair designer Lisa Davey and costume designer Vicky Gill.

Programme highlights

MPTS’ State of the Nation Production keynote is led by four indie TV executives who will assess the industry’s rapid evolution and offer vital guidance on what the future holds. A masterclass with filmmaker James Jones and Raw TV explains how to make impactful, award-winning documentaries. Leading commissioners from UKTV, BBC and MTV Entertainment inform us what they want from Fact Ent pitches, and if sustainability is important to your show’s credentials, then a BAFTA albert introduction will tell you how to get your carbon-cutting screen journey started.

Broadcast Technology sessions kick off with a State of the Nation keynote dissecting the latest advances in transmission methods, the integration of AI in content creation and the impact of cloud technology. Senior ITV executive Kim Rowell discusses the EarthSonic project and its ground-breaking approach to sustainability in the creative industries, while a session on Future Technology Trends gets you ahead of the curve on how 5G and real-time capture can shape the future of immersive media.

The Post Production seminars are headlined by a State of the Nation panel on where the industry is heading in an era of unprecedented uncertainty and technological ingenuity. Exclusive VFX masterclasses will be held, with Bluebolt looking at the before and afters of the haunting Oscar-nominated Nosferatu; and how Union VFX created award-winning environments for The Tattooist of Auschwitz.

With so much turmoil in the VFX sector, MPTS brings a timely State of the Nation airing the key issues and questioning whether expanded UK tax breaks can alter the dial. 

If Audio is your art, then MTPS is your sounding board. A Future of Audio State of the Nation examines advances in immersive sound formats and the role of AI in sound design. The incredible composers behind Miss Austen, The Tourist and Black Doves convene for a dedicated panel. More exclusive masterclasses delve into the script-to-screen post of Black Mirror S7 and A Thousand Blows. Don’t forget to check out the unique musical challenges behind the Sounds of Saturday Night, including Gladiators and Strictly Come Dancing.

The latest developments in Artificial Intelligence permeate the MPTS programme in the AI Media Zone with debates ranging from business and copyright implications to practical and inspiring examples of AI’s use in production. A State of the Nation address led by the BBC and ITN asks how broadcasters are integrating AI to enhance content creation. Look too for an exclusive case study on how the late, legendary British chat show host Michael Parkinson has been brought back in the podcast Virtually Parkinson, thanks to the power of AI, with discussion of the ethical, creative, and technological considerations.

Virtual Production is no longer a niche aspect of filmmaking; it has become a game-changer, revolutionising how films, TV shows, and games are made. Experts on this State of the Nation panel examine what the rise of VP means for creators, the workforce, and the art of filmmaking itself. Look for a seminar on how to bridge the skills gap as technology advances and a BAFTA albert case study on how the technology is revolutionising sports broadcasting.

Returning for a second year running, the Media Technology Conference, in partnership with SMPTE, is open to all attendees and will take a deep dive into the technologies impacting the industry, including 3D technology, ST2110, the future of DTT/OTT and more.

We are thrilled to unveil this incredible seminar programme for MPTS 2025, an event that continues to be the leading platform for innovation, discussion, and collaboration in the media production and technology sector. This year’s programme has been carefully curated to address the most pressing challenges and exciting opportunities facing our industry, featuring an exceptional line-up of speakers, thought leaders, and industry pioneers. Whether you are an established professional or a new voice in the industry, our sessions are designed to inspire, inform, and spark meaningful conversations.

Charlotte Wheeler, Event Director of MPTS

What to see at the expanded Gallery Level

MPTS 2025 has an expanded presence on the gallery level where visitors will find the new AI Media Zone, an additional café and networking area, the Blackmagic Design Seminar Theatre, and the brand new AI Training series organised in partnership with Future Media Concepts (FMC).

The AI Media Zone is your base for exploring the transformative power of artificial intelligence in media and production. Featuring interactive demonstrations and expert-led discussions, this space will highlight AI-driven workflows, automation, and the future of content creation.  

The Blackmagic Design Seminar Theatre will host live demonstrations and technical sessions to cover recent developments in cameras, post-production, and live broadcasting. Topics will include large-format cinematography with URSA Cine and Blackmagic Cloud for editorial workflows. 

And lastly, MPTS is delighted to bring the UK post-production community a chance to delve into enhanced training workshops on how AI is transforming post-production workflows, from automating tedious editing tasks to enhancing visual storytelling with advanced motion graphics and VFX. This special ticketed section of MPTS, designed in partnership with FMC/NAB Show will offer a comprehensive AI Training Programme that explores the practical applications of AI while addressing the ethical considerations surrounding its use in content creation.  

MPTS 2025’s expanded gallery level is a testament to the show’s commitment to innovation, education, and industry growth. With these exciting new additions, the event promises to be an unmissable experience for professionals looking to stay ahead in the evolving media landscape.

We look forward to welcoming attendees from across the sector to engage with expert panels, hands-on demonstrations, and exclusive keynote talks. The conversations we foster here will help shape the next chapter of media production and technology. We can’t wait to see you at MPTS 2025.

Charlotte Wheeler, Event Director of MPTS

The full seminar programme is available at https://www.mediaproductionshow.com/programme. You can register to attend MPTS 2025 for free today by clicking here.

“Animated UK Meets Europe” returns to Cartoon Forum

Animation UK, in collaboration with CARTOON and with the support of BBC Children’s and Education, is delighted to announce the return of the “Animated UK Meets Europe” initiative at Cartoon Forum 2025.

This collaboration has been instrumental in reinforcing European partnerships and showcasing the strength of UK talent and creativity in European markets. We are thrilled to be back in Toulouse to support UK producers and foster new co-production opportunities across Europe.

About the initiative

The special session will take place on the afternoon of Wednesday 17 September, showcasing two exciting new UK animation projects currently seeking European co-production and distribution partners. This curated event complements the official programme of European project pitches and aims to spotlight emerging talent and encourage new creative alliances.

To further highlight the power of cross-border collaboration, a panel discussion on the importance of co-productions will also take place. Chaired by Vanessa Chapman, the session will bring together leading European voices to share insights and successful case studies and will include Sarah Muller from the BBC.

Cartoon Forum is one of the most important platforms for animation producers to connect with international buyers and commissioners. We’re thrilled to return with the ‘Animated UK Meets Europe’ initiative, which champions the creative and commercial potential of UK–EU collaboration. At a time when cross-border partnerships are more valuable than ever, we strongly encourage UK participants to attend Cartoon Forum, forge new connections, and explore all the opportunities this unique forum has to offer.

Kate O’Connor, Executive Chair of Animation UK

BBC Children’s and Education is returning to Cartoon Forum supporting this important industry and building on the success of the previous UK Animation panel. We’re showcasing homegrown creativity alongside Europe’s best, collaborating with UK Animation and Cartoon Forum to support and elevate the animation industry globally.

Patricia Hidalgo, Director of BBC Children’s and Education

Networking opportunity

CARTOON will host its renowned Networking Afternoon on Thursday 18 September, offering targeted matchmaking sessions for animation professionals. All registered participants—including the UK delegation—can benefit from curated one-to-one meetings to build new partnerships and develop business opportunities. Animation UK invites all UK animation professionals to join us at Cartoon Forum 2025 and be part of a growing and vibrant community of European collaborators.

Frank Cottrell-Boyce returns to the Children’s Media Conference 2025 to deliver Opening Keynote

The Children’s Laureate will open the conference on Tuesday 8 July.

Frank Cottrell-Boyce, screenwriter for film and TV, award-winning novelist and the current Children’s Laureate returns to The Children’s Media Conference (CMC) to deliver the Opening Keynote on 8 July 2025. Frank is the first keynote speaker to return to CMC, having spoken brilliantly in 2013 about his unique role as writer on the London Summer Olympics Opening Ceremony. 

CMC has invited Frank in recognition of his unique contribution to the lives of children and young people, his passionate support of the people who make content for them and his razor-sharp observations on creativity, culture, content and the young. Exactly one year into his Laureateship, Frank will reflect on the troubling times we live in and how the children’s media community can step up to the challenges and still shake things up for kids.

Greg Childs OBE, Editorial Director at CMC expressed his particular enthusiasm for Frank Cottrell-Boyce opening the Children’s Media Conference in 2025.

In times like these, when the children’s media business is full of uncertainties, and the world itself seems a colder, darker place, Frank’s clear-sighted humanity and passion for bringing the best to young people is what we need to inspire us to shake off the blues and keep going. Because the kids need us to.

Greg Childs OBE, Editorial Director at The Children’s Media Conference

Award-winning author and screenwriter, Frank Cottrell-Boyce, is the Waterstones Children’s Laureate 2024-2026. He is the author of ‘Sputnik’s Guide to Life on Earth’, ‘The Astounding Broccoli Boy’, ‘Cosmic’, ‘Framed’, and ‘Millions’, the last of which was a New York Times bestseller and was made into a movie by Oscar-winning director Danny Boyle. His books have won, or been nominated for, numerous awards including the Carnegie Medal, the Guardian Children’s Fiction Prize, and the Whitbread Children’s Book Award. Frank is also a screenwriter, having penned the scripts for a number of feature films including ’24 Hour Party People’ and ‘Millions’ as well as the opening ceremony of the 2012 London Olympics.

CMC’s 2025 event will include a packed schedule of masterclasses and panels tackling the urgent issues facing the children’s media industry and young audiences. The conference’s sessions and networking events will take place at the Showroom Cinema, the City Hall and other venues in Sheffield.

After the conference delegates will have access to the entire event on video with complete coverage of all the topics explored in Sheffield, including research insights in “Understanding Kids”, the ever-popular practical strand “The Art of…”, “Inclusivity Now” panels which offer deep understanding of the routes to diversity and inclusion, and a new strand “Digital Discussions” with insights into how to work with the platforms where kids are consuming their content. Once again the range of speakers will be enhanced by a new influx of international guests including broadcasters, producers and distributors from Europe, Canada and the USA, who will also attend the CMC International Exchange one-day market on Tuesday 8 July – live again in Sheffield Town Hall.

Tickets for CMC 2025 are now on sale, with the Early Bird discount open to all until 6 May. Details on registration and delegate pass rates are available at: www.thechildrensmediaconference.com

Urgent action needed to protect distinctly British content as MPs call on Government to ramp up support across film and high-end TV industry

The Culture, Media & Sport Committee has published the British film and high-end television report.

• Report outlines steps to maintain overseas investment while safeguarding culturally distinct British productions.
• Independent Film Tax Credit a game-changer but not a silver bullet for all the problems facing independent British film.
• Committee makes recommendations on tax incentives, supporting workforce, independent cinemas and meeting challenges posed by AI.

Tax breaks and a streamer levy should be on the table as part of an urgent package of support for the UK’s crisis-hit high quality drama sector, MPs say today, in a wide-ranging report which urges the Government to step up the assistance it provides for all elements of British film and high-end television.

Today’s report from the Culture, Media and Sport Committee welcomes the Government’s stated ambition to make the UK the best place to make film and high-end television, but warns that there must be no complacency over its status as a global production hub and calls for a regular assessment of tax incentives to maintain investment from overseas.

At the same time, the report recommends a series of measures to halt the decline of domestic production of culturally distinct British film and programmes, which has failed to keep pace with the headline-grabbing growth of big box office productions financed and controlled from outside the UK.

While the introduction last year of the Independent Film Tax Credit – as called for by the previous committee in the last Parliament – was a welcome first step for the film industry, the report says the Government should go further, or producers will continue to struggle to develop and raise finance for films, and those that are made will not be seen by audiences. The Committee calls for a tax credit to support the distribution of lower-budget films, among other measures to support independent film.

The Committee further warns that without urgent intervention, the problems seen in independent film will extend to the domestic high-end TV sector, where competition from high-budget overseas production is driving up costs, revenue models are changing due to the terms offered by streamers and commissioning budgets of public service broadcasters are being squeezed by a fall in the licence fee and drop in advertising revenue.

The report outlines evidence that this has put distinctly British content, which is vital to the UK’s identity, national conversations and talent pipeline, under threat.

Evidence to the inquiry from ‘Wolf Hall’ director Peter Kosminsky warned that recent hit ‘The Mirror and the Light’ would not have been made today due to funding challenges, while ‘Black Doves’ and ‘Kaos’ producer Jane Featherstone told the Committee that the business models of streamers dictate that shows need to have global appeal to be made.

The Committee’s report therefore calls for enhanced tax incentives for domestic high-end TV, and for streamers, such as Netflix, Amazon, Apple TV+ and Disney+, which benefit from the creativity of British producers, to put their money where their mouth is by committing to pay 5% of their UK subscriber revenue into a cultural fund to help finance drama with a specific interest to British audiences.

The report also makes a range of recommendations on how to bolster skills and worker rights in the industry, citing the many hardworking and talented people who work in the sector as a key reason for its success. It reinforces the recommendation of the last committee for the Government to appoint a Freelancers’ Commissioner.

On support for cinemas, the Committee says the Government should introduce a core funding model for culturally significant independent cinemas to mitigate the cost pressures, changing audience behaviours and under-investment in people and infrastructure that have threatened many communities’ cinemas.

The report also says that the Government should require licensing of creative works in all cases where they are used to train AI models.

Big box-office blockbusters made in Britain have showcased the UK’s world-class film and high-end television industry like never before. But the boom in inward investment of recent years now risks crowding out our many talented independent British producers. While streamers like Netflix and Amazon have proved a valuable addition for the industry and economy, unless the Government urgently intervenes to rebalance the playing field, for every ‘Adolescence’ adding to the national conversation, there will be countless distinctly British stories that never make it to our screens.

From independent production through to cinemas, all parts of our film and high-end TV sector, and the talented people that make it such a success, are going through a turbulent time. To neglect just one part puts the entire ecosystem at risk, so it’s therefore vital that the Government goes further and faster across the board to support an industry that is so important to both our economy and our soft power overseas.

Today’s report sets out a way forward for the Government to put the name of the UK film and television industry up in lights around the world as the very best place to do business and to work, by offering the right tax incentives, tackling skills shortages, improving worker rights and making sure the rise of AI is a positive force, not a disincentive to investment.

Dame Caroline Dinenage MP, Chair of the CMS Committee

The report’s key findings and recommendations

The future of British film – page 7

• The Independent Film Tax Credit is a gamechanger for domestic production and a welcome sign of continued Government commitment to the sector. But it is not a silver bullet for all the problems facing independent British film. Without further intervention, producers will still struggle to develop and raise finance for films, and the films that are made will not be seen by audiences.

• On tax changes, the report makes recommendations on amending the definition of R&D for tax relief purposes for the creative industries and introducing tax relief for the print and advertising costs of films to support distribution and exhibition.
• On funding, there should also be a review of the impact of changes to the Enterprise Investment Scheme and Seed Enterprise Investment Scheme and an increase in the budget for the UK Global Screen Fund, with the UK looking to rejoin Creative Europe as an associate member.

The crisis in domestic high-end television – page 17

• Domestic HETV needs to be supported through enhanced tax incentives just as independent film has been. The BFI should urgently conduct analysis on the potential design and return on investment of a targeted uplift to HETV AVEC for domestic productions with budgets of £1 million to £3 million per hour. The Government should commit to introducing the measure at the next fiscal event if the projected return on investment and impact on domestic production is found to be positive.

• The dynamic between independent producers and streamers is not sustainable, and successful production companies are being gutted by deals that deny them the ability to fully monetise their intellectual property. The Government should consider ways that British producers can retain a greater share of IP rights when working with streaming platforms.

• Streamers laud the UK’s mixed production ecology, with public service broadcasters and independent producers at its heart, but their business practices are putting that at risk. They need to step up their support for the making of culturally British content, and not just reap the cultural and training benefits it provides. All streaming platforms that operate in the UK should pay a 5% levy on their UK subscriber revenue into a cultural fund administered by the BFI to support domestic production. If the industry does not voluntarily establish the fund within a year, the Government should introduce a statutory levy.

Incentivising inward investment – page 28

• Twice a year, the Government should compare the UK’s film and HETV tax incentives with those of other countries. Where the UK’s offer is found to be less competitive, the Government should bring forward any changes to maintain overall competitiveness.

Supporting the workforce – page 39

• From our world-class actors, writers, composers and directors to our highly skilled VFX artists and dedicated, hair and make-up professionals, costume designers and technical crew members, the people that make, distribute and exhibit British films and HETV programmes are a key reason the industry is a global success story.

• The Committee is not convinced ScreenSkills is up to the challenge of delivering meaningful action on skills and training and the Government should link any future public funding to specific, measurable outcomes based on it publishing and meeting ambitious and robust performance indicators.

• The Committee is surprised that major streamers and studios could not give a straight answer on how much they spend on training. There should be a statutory requirement for the entire film and HETV production industry to report their spending on skills and training as a percentage of their production budgets every financial year.
• The range of roles required to make film and HETV means entire cohorts of sixth- form students could find jobs in the industry that fit their skills and interests. The Government and BFI should launch a national awareness campaign highlighting the employment opportunities offered by film and HETV, and the range of skills the industry requires.

• The British film and HETV industry benefits hugely from the flexibility afforded by a predominantly freelance workforce, but in return both it and the Government need to do more to support freelancers when they are out of work. The Government should set out specific measures to address pay precarity and the Committee repeats the call of the predecessor committee for the appointment of a Freelancers’ Commissioner.

• It is in the film and HETV industry’s interests to tackle bullying and harassment through effective self-regulation. All parts of the creative industries under the remit of the Creative Industries Independent Standards Authority (CIISA) should commit to unconditional, long-term funding within six months. In the meantime, the Government should explore all options for funding CIISA in case the industry does not deliver a voluntary solution.

Cinema exhibition – page 63

• The Government should review the impact of a permanent cut to VAT on entry to cultural events, including cinema tickets, to identify whether it would support the growth of the creative industries.
• The Government should fund the BFI’s proposals to deliver core funding, similar to Arts Council England’s National Portfolio Organisation model, for independent cinemas. This should include a capital funding pot to upgrade cinemas’ infrastructure and improve their energy efficiency.

Impact of Artificial Intelligence – page 73

• Industry guidelines based around protecting human creativity in the use of generative AI are welcome, but the film and TV sectors are calling out for help to embrace the growth potential of generative AI in a way that is fair, responsible and legally compliant. At the Spending Review, the Government should fund the BFI’s development of an AI observatory and tech demonstrator hub.

• Getting the balance between AI development and copyright wrong will undermine the growth of our film and HETV sectors, and wider creative industries. Proceeding with an ‘opt-out’ regime stands to damage the UK’s reputation among inward investors for our previously gold-standard copyright and IP framework.

The work of the BFI – page 83

• Too often the BFI’s responsibilities have been expanded by the Government without a commensurate, long-term increase in the grant-in-aid support available to it. That has put the UK’s reputation with inward investors at risk and could undermine the growth of the vital sectors under its remit.

• The Government should review how National Lottery returns for good causes are allocated between distributing bodies by the end of the 2025-26 financial year.
• To safeguard our national collection of film and TV, and increase public access to it, the Government should introduce and resource a statutory deposit scheme for the moving image, as a first step conducting and publishing research into how it would operate.

Read the full British film and high-end television report by the Culture, Media and Sport Committee here.

All Spring Media launches Talent Pool to connect crew with industry opportunities

All Spring Media launched its Talent Pool on 19 February at the Film and TV Charity in Soho, with the aim of bridging the gap between skilled professionals and the ever-evolving screen industry, providing learners with direct pathways to employment and career growth.

The launch event brought together learners, trainers, and industry partners, all eager to learn more about the Talent Pool and the opportunities it offers.

Marcus Ryder MBE, Chief Executive Officer of the Film and TV Charity, delivered the welcome words, highlighting the importance of focusing on the wellbeing of crew members in the film industry. He emphasised that 30% of those working in the industry suffer from loneliness, a striking contrast to the national average of 8% among adults in England. His remarks underscored the need for greater support for mental health and wellbeing. The Film and TV Charity opens its doors to support everyone behind the scenes in film and TV, reinforcing the organisation’s commitment to improving the lives of those who often go unseen in the industry.

Beyond the informative sessions, the event was a fantastic opportunity for networking and fostering meaningful connections among professionals at different stages of their careers. Learners engaged with industry experts, exchanged experiences, and built relationships that will be instrumental in their professional journeys.

We are incredibly excited to officially launch our Talent Pool to support our learners in securing meaningful roles within the industry. By working closely with our industry partners, we are creating real opportunities for skilled professionals to take the next step in their careers. Our mission is clear: ‘Empowering Talent, Inspiring Growth, Building Futures within the Screen Industry’.

Martina Porter, Managing Director of All Spring Media

The All Spring Media Talent Pool will continue to grow and evolve, ensuring it remains a key resource for both talented crew and employers looking for qualified professionals.

For more information about the Talent Pool and how to get involved, visit https://allspringmedia.co.uk/

Kidscreen Awards 2025: Winners announced

At a high-profile Kidscreen Awards ceremony hosted by comedian and television personality Jessi Cruickshank, the year’s best work in children’s television and digital media was announced and celebrated at Kidscreen Summit 2025 in San Diego.

Determined by two panels of esteemed industry judges, awards in the programming categories were given to the following entries:

PROGRAMMING – PRESCHOOL

Best Animated Series

Hey Duggee

BBC Studios Kids & Family, Studio AKA

Best Live-Action Series

Saïd & Anna

Phanta Basta!, INDI Film

Best Mixed-Media Series

Beep & Mort (season 2)

Windmill Pictures, ABC Australia

Best New Series

Silly Sundays

Cartoon Saloon

Best One-Off, Special or TV Movie

Bluey: The Sign

BBC Studios Kids & Family, Ludo Studio, ABC Australia

Best Holiday or Special Episode

“Mickey and Friends Trick or Treats” (Mickey Mouse Mixed-Up Adventures)

Stoopid Buddy Stoodios, Disney Branded Television

Best Inclusivity

Let’s Go, Bananas!

9 Story Media Group, Brown Bag Films

Best Podcast

The Cat in the Hat Cast

Wondery, Story Pirates, Dr. Seuss Enterprises

Best in Class

Gabby’s Dollhouse

DreamWorks Animation, Netflix

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PROGRAMMING – KIDS

Best Animated Series

LEGO Pixar

LEGO Entertainment, Atomic Cartoons

Best Live-Action Series The Really Loud House Nickelodeon

Best Mixed-Media Series

Ahlan Simsim

Sesame Workshop, Jordan Pioneers

Best New Series

Max & the Midknights

Nickelodeon Animation Studios

Best One-Off, Special or TV Movie

Orion and the Dark

DreamWorks Animation, Netflix

Best Holiday or Special Episode

“‘Twas the Fight Before Christmas” (The Loud House)

Nickelodeon Animation Studios

Best Inclusivity

Choir

Disney Branded Television, Imagine Documentaries, Blumhouse Entertainment

Best Podcast

Disney Frozen: Forces of Nature

Disney Publishing, ABC Audio

Best in Class

Orion and the Dark

DreamWorks Animation, Netflix

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PROGRAMMING – TWEENS/TEENS

Best Animated Series

Bob’s Burgers

20th Television Animation

Best Live-Action Series

Avatar: The Last Airbender Netflix, Nickelodeon

Best New Series

Percy Jackson and the Olympians

20th Television, Disney Branded Television

Best One-Off, Special or TV Movie

Super Bowl LVIII: Live from Bikini Bottom Nickelodeon

Best Inclusivity

Avatar: The Last Airbender

Netflix, Nickelodeon

Best Podcast

Are You Afraid of the Dark?

Nickelodeon Podcasts, Nickelodeon Digital Studios, Gideon Media

Best in Class

Avatar: The Last Airbender

Netflix, Nickelodeon

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There is also a set of Kidscreen Awards categories designed to spotlight the best efforts made by broadcasters to build stronger connections with kids and family audiences around the world. These winners were decided through an online vote by Kidscreen magazine and Kidscreen Daily subscribers that took place in December.

BROADCASTING

Channel of the Year

PBS KIDS

Best Kids-Only Streaming Service

TVOKids

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And rounding out the Kidscreen Awards program is a set of digital categories for preschool (ages zero to five) and kids (ages six and up). Here are the winners:

DIGITAL – PRESCHOOL

Best Website

PBS KIDS

PBS KIDS

Best Web/App Series—Original

Zip and the Tiny Sprouts

Tiny Souls, K Love U Bye

Best Web/App Series—Branded

Bluey Book Reads

BBC Studios Digital Brands, Ludo Studio

Best Learning App—Original

Funexpected Math Funexpected

Best Learning App—Branded

PAW Patrol Academy

Spin Master

Best Game App—Branded

PBS KIDS Games

PBS KIDS

Best YouTube Channel

Bluey

BBC Studios, Ludo Studio

Best Alternative Game

Donkey Hodie: Cousin Hodie Playdate

Fred Rogers Productions, Curious Media

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DIGITAL – KIDS

Best Website

CBC Kids News CBC Kids

Best Web/App Series—Original

Tiny Time Travel

Easy As Pie Productions, Marobru Productions

Best Web/App Series—Branded (TIE)

How NOT to Draw

Disney Television Animation, Disney Branded Television

LEGO City: No Limits

LEGO Entertainment, Blue Zoo

Best Learning App—Branded

The Angry Birds Collection

Rovio Entertainment, Legends of Learning

Best Game App—Branded

Nickelodeon All-Star Brawl 2

Paramount Games, GameMill

Best YouTube Channel

SpongeBob SquarePants

Nickelodeon

Best Alternative Game

Toca Boca World

Spin Master

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For more details, visit awards.kidscreen.com.