Hoho Rights Launches New ‘Animated Classics Channel’

Folk Tales, Literary Classics and Biblical Epics Find a New Home on YouTube as Hoho Rights Launches New ‘Animated Classics Channel’

Children’s distribution and rights management company Hoho Rights (Cloudbabies, Toad and Friends), is continuing its dynamic multi-platform strategy by launching a new Animated Classics Channel on YouTube on Wednesday, 1st October which will showcase a number of landmark animated series produced by S4C in collaboration with major broadcasters including the BBC and HBO.

“For some time, a significant part of our strategy has been to find ever creative ways to bring high-quality content to new audiences on platforms with which they are increasingly familiar. Having begun my career at S4C, I am absolutely thrilled to give new life to these incredible landmark series which because of their ground-breaking animation and timeless subject matter have absolutely stood the test of time and are now accessible for new audiences to discover”.
Helen Howells, Joint Managing Director, Hoho Entertainment

Covering a range of topics including religion, literature, opera, and history, the carefully-curated collection will feature major series which were ahead of their time in terms of animation techniques. This bill includes the largest broadcasting co-production ever undertaken – Animated Tales of the World – which featured 39 stories from 39 countries and won two Primetime Emmy Awards in 2001.

Appealing from both nostalgic and educational points of view, much of the content will be linked to the curricula, providing a valuable resource for both educators and students.

“These much-loved programmes hold a special place in the hearts of viewers in Wales and beyond, and we’re delighted to introduce them to new audiences on YouTube. In today’s digital world, it’s vital that quality educational content is accessible online – and we’re excited for a whole new generation to discover, enjoy, and learn from these classic animations.”
Llion Iwan, Chief Content Officer at S4C

From Britain to Europe: Animation UK Builds Bridges at Cartoon Forum

Animation UK was proud to return to Cartoon Forum last week, with Executive Chair Kate O’Connor championing the Animated UK Meets Europe initiative and advocating for a lasting role for British creativity in European markets.

The Animated UK Meets Europe programme is a vital platform for reinforcing cross-border collaboration, and an instrumental means by which to showcase British talent and foster collaboration with European partners.

“Europe is a vital partner for the UK animation sector. This initiative shines a spotlight on our distinctive talent and creative excellence, while reinforcing our commitment to long-term collaboration.”
Kate O’Connor, Executive Chair of Animation UK

Although the UK’s withdrawal from Creative Europe MEDIA prevents British producers from leading projects directly into Cartoon Forum, this dedicated platform is an essential bridge, ensuring UK stories, talent, and partnerships continue to flourish on the international stage.

This year, three UK-led projects were highlighted during a dedicated session, supported by BBC Children’s and S4C: Amelia Fang (CAKE Entertainment, UK, with DCM, Germany), Let’s Play in Tiger Bay (Hoho Entertainment and Bumpybox, UK), and The Adventures of Robin Robin (Aardman Animations, UK).

The programme also featured a roundtable led by Vanessa Chapman, with representatives from the BBC, YLE, and France Télévisions. The discussions emphasised the increasing importance of co-productions as a key strategy for securing funding and fostering creative exchange.

“The UK Meets EU initiative adds another layer of value by spotlighting UK talent and fostering stronger relationships between UK and European studios.”
Patricia Hidalgo, Director of BBC Children’s and Education

Animation UK is grateful to our partners BBC Children’s and Education and S4C for their support, and to all the producers, broadcasters, and creatives who contributed to making this a strong showcase for UK animation.

The success of this year’s programme signals a positive step toward strengthening UK animation’s role in creative Europe in a post-Brexit landscape.

Spotlight on… The Core Skills of VFX Handbook Launch

The UK’s VFX community gathered at Cinesite’s London offices to mark the launch of the updated Core Skills of VFX Handbook, authored by Saint John Walker and supported by UK Screen Alliance and the Metro London BFI Skills Cluster.

The Core Skills of VFX Handbook, last updated in 2017, has long been a cornerstone for educators and aspiring artists, but the fast pace of technological and cultural change in the sector meant a refresh was urgently needed. This new edition has grown from 70 to 112 pages and has been shaped through a year-long consultation process involving focus groups and over 100 industry contributors.

For the first time, the Handbook includes information on remote working, real-time VFX using games engines, virtual production, and the influence of AI.

The launch event welcomed educators and industry professionals for a premiere look at the publication, with limited printed copies available on the day. Following a welcome from Neil Hatton, CEO of UK Screen Alliance, attendees heard from Saint John Walker about the process of compiling the Handbook, before joining a panel discussion and Q&A exploring the challenges facing graduates, the future of VFX skills, and how the Handbook fits into this climate as an antidote to the current precarity of the industry.

People ask me about the difference between this edition and 2017, and I think since Covid, the industry has been more aware that it is people, not technology, that drives the industry forward. This is indicated by the inclusion of pictures of events and social highlights, and a chapter on People. Like the industry, the Handbook has grown and specialised – from 70 to 112 pages. Also, it’s free thanks to sponsorship from UK Screen Alliance with lottery funds. I think it’s the positive shot in the arm the industry and education needs right now to ensure a stream of new, inspired talent.
Saint John Walker, Author of the Core Skills of VFX Handbook

Following the launch, a panel discussion featuring Neil Hatton (CEO, UK Screen Alliance), Saint John Walker (author of the Core Skills of VFX Handbook), Klaudija Cermak (Programme Leader and VFX Compositing Lecturer, Escape Studios), and Michele Sciolette (Head of VFX Technology, Cinesite) explored the opportunities and challenges facing the VFX workforce and how the Handbook will support new entrants.

Here are some key insights from the panel:

Graduate opportunities and industry engagement

The panel acknowledged concerns over declining graduate opportunities in VFX and positioned the Handbook as a tool to bridge the gap between education and industry. While some of its recommendations will take time to embed into curricula, the free resource empowers students to access the information directly and apply it to their own studies and career planning. By demonstrating how a broad range of skills can be valued in the VFX landscape, the Handbook helps to ensure that emerging talent is retained in the industry pipeline.

Artificial Intelligence

Information around the inclusion of AI in VFX is interwoven throughout the Handbook, as opposed to being dedicated to a specific chapter. This allows the Handbook to exists as a living document that can be updated alongside ever-changing AI developments. There is unlikely to be a specific chapter 16 on AI but, rather, the resource will see more consistent updates in the future as we receive more clarity around the intersection of AI and VFX.

Virtual production

The new edition features a dedicated chapter on virtual production, broadening understanding beyond simply LED volumes. Multiple companies contributed to this chapter, articulating virtual production as a diverse and flexible set of tools that will play an increasingly central role in VFX workflows.

The human side of VFX

A newly introduced chapter on “People: VFX’s Secret Weapon” addresses the social realities of VFX work. By emphasising collaboration, community, and relationships, the Handbook challenges the stereotype of VFX as an isolated, purely technological career, instead underscoring its social and diversely creative dimensions.

“It will be essential that new entrants are equipped to engage with current and future practices in a sector characterized by rapid technological innovation and expanding creative possibilities. This comprehensive blueprint for curricula will serve as a vital resource for industry, academia, and above all the graduates aspiring to thrive in our pioneering sector.”
Neil Hatton, CEO of UK Screen Alliance

Find the freely downloadable online version of the Handbook here.

A New Chapter for ENVY Group: HALO, new beginnings, and the future of post-production

ENVY Group, named the Best Post Production House at the 2025 Broadcast Awards, has announced a major new chapter through its acquisition of Halo Group, creating the UK’s biggest independent post production group.

This development brings together two creative powerhouses in post, uniting their award-winning talent and expertise to enhance client experience and expand the Group’s capabilities across broadcast, film, and advertising.

CEO Dave Cadle and Creative Director Natascha Cadle shared their perspectives on what this milestone means for clients, teams, and the wider industry.

Bringing Halo into the ENVY Group means we are able to expand our capabilities into more scripted work, giving clients more choice and flexibility across an even wider range of post-production services. With more suites, and creative spaces available, we can offer an efficient workflow that supports ambitious projects from start to finish. For our teams, it means collaborating in a larger creative community, designed to deliver exceptional results for every production.
Dave Cadle, CEO of ENVY Group

In an industry that is evolving faster than ever, ENVY’s ability to adapt and grow remains central to its success.

The post-production industry is moving faster than ever, with increasing demand for efficiency, scale, and creative quality. Bringing incredible talent together under one ENVY Group was a natural decision as it allows us to consolidate and deliver end to end solution for our clients. We will continue investing in technology, talent, and streamline workflows to stay ahead of the curve, so we can assist our clients of every size and genre.
Dave Cadle

ENVY Group has long been recognised for its innovation and award-winning work. With Halo now part of the family, the company is positioning itself to meet the industry’s changing needs and explore new opportunities for creative partnerships.

What excites us most is the opportunity to bring two creative cultures together. ENVY and Halo share the same passion for excellence, and now we can combine our strengths to offer clients more choice, more flexibility, and more innovation than ever before. This is about creating a great experience for our clients from start to finish.
Natascha Cadle, Creative Director of ENVY Group

The move marks an important milestone for ENVY, reinforcing its commitment to investing in talent, technology, and world-class facilities, while ensuring clients continue to receive the very best service in post-production.

BBC’s Award-Winning Children’s Documentary Series ‘My Life’ Goes Global with Serious Kids

The BBC’s critically acclaimed children’s documentary series My Life is set to reach viewers around the world for the first time, following a new distribution deal with London-based company Serious Kids.

The half-hour documentaries, which air on CBBC and BBC iPlayer, have won multiple accolades, including BAFTAs, International Emmys and the Prix Jeunesse. Each episode tells a personal story from a young person’s perspective, often addressing complex or challenging issues through a child’s eyes.

Under the deal, Serious Kids will curate and distribute a collection of standout titles from the past 15 years, developed in collaboration with independent production companies such as Big Deal Films, Drummer TV and Nine Lives Media. The package will be unveiled at this year’s MIP Junior market in Cannes.

The line-up ranges from the BAFTA-winning Boy on a Bicycle (Drummer TV), in which Ahmed offers a glimpse of life in a refugee camp; to Girl Genius (Big Deal Films), following Kashmea’s campaign to tackle food allergy deaths; and Marvellous Messy Minds (Nine Lives Media), charting three children’s experiences with anxiety, ADHD and OCD.

“I’ve long made it my mission to bring these wonderful films to children and families beyond the UK. Sharing uplifting, homegrown stories is key to showcasing British culture – and taking them to MIPJnr helps build cultural understanding across borders.”
Patricia Hidalgo, Director of BBC Children’s & Education

“We are finally ready to launch the series at Mipcom Junior after over a year’s work on bringing this together. We thank everyone at BBC Children’s and Education, Big Deal Films, Drummer TV, Nine Lives Media and Flix for working with us on this project. We know from attending BAFTA and Emmy award ceremonies over the years that these films are well respected around the world and we are excited to see the response from international broadcast community. If successful we can add new films to the collection to supply what will hopefully be a strand on many other channels besides CBBC.”
Genevieve Dexter, Founder and CEO of Serious Kids

“Sharing stories is such an important way to communicate across different cultures and I am sure young audiences across the world will enjoy and learn from this My Life series.”
Cat Lewis, CEO & Executive Producer at Nine Lives Media

Through being appointed as the worldwide distributor for a selection of My Life films, Serious Kids expands its catalogue of award-winning children’s and family programmes and extends its reach into international markets.

UK Screen Alliance Members Honoured in 2025 Emmy Nominations

The Yard VFX, DNEG, Industrial Light & Magic, RISE FX, Company 3, Union, Important Looking Pirates, and Pixomondo are amongst the list of VFX studios with Emmy nominations this year for outstanding special visual effects.

The 77^th Primetime Emmy Awards, honouring the best in American prime time television from June 1 2024 until May 31 2025, will take place at 1am on Monday, 15 September (BST).

This year’s Emmy Nominations highlight the exceptional work of UK Screen Alliance members, including The Yard VFX, DNEG, Industrial Light & Magic, RISE FX, Company 3, Union, Important Looking Pirates, and Pixomondo. See the list of nominees from UK Screen Alliance member companies below.

The live ceremony in the U.S., hosted by comedian Nate Bargatze, will be broadcast on CBS, and will be available to Paramount+ subscribers on demand the following day.

Nominees for Outstanding Special Visual Effects in a Season or a Movie:

Andor – Disney+, Lucasfilm Ltd.

Special Creature Effects by Scott Pritchard, Visual Effects Supervisor (ILM)
Jean-Clément Soret, Senior Colourist (Company 3)

Dune: Prophecy – HBO | Max, HBO presents a Legendary Television production in association with Flying Life Productions, HerbertProperties LLC, and Wandering Jew Productions

Philip Engstrom, Visual Effects Supervisor (ILP)

House Of The Dragon – HBO | Max, HBO in association with Bastard Sword, GRRM and 1:26 Pictures Inc.

Sven Martin, Visual Effects Supervisor (Pixomondo)
Fausto Tejeda, Associate Visual Effects Supervisor (Pixomondo)

The Last Of Us – HBO | Max, HBO in association with Sony Pictures Television, PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog

Stephen James, Visual Effects Supervisor (DNEG)
Andreas Giesen, Visual Effects Supervisor (RISE FX)
Philip Engstrom, Visual Effects Supervisor (ILP)

The Lord Of The Rings: The Rings Of Power – Prime Video, Amazon MGM Studios

Daniele Bigi, VFX Supervisor (ILM)
Greg Butler, VFX Supervisor (DNEG)
Laurens Ehrmann, VFX Supervisor (The Yard)

Outstanding Special Visual Effects in a Single Episode

Black Mirror “USS Callister: Into Infinity” – Netflix, Broke & Bones for Netflix

David Schneider, Senior DFX Supervisor (Union)
Tallulah Baker, VFX Producer (Union)
Jane Paton, 2D Supervisor (Union)

Severance “Hello, Ms. Cobel” – Apple TV+ , Fifth Season in association with Apple

Shawn Hillier, Visual Effects Associate Supervisor (ILM)
Radost Ridlen, Visual Effects Associate Supervisor (ILM)
Martin Kolejak, Environments Lead (ILM)
Brian Holligan, Producer (ILM)

Animated UK meets Europe at Cartoon Forum: Kate O’Connor on the Future of UK-EU Creative Relations

Kate O’Connor, Executive Chair of Animation UK, recently spoke to The European Animation Journal about rebuilding creative bridges with Europe and the role of UK producers in today’s shifting landscape.

In the interview, Kate reflects on the return of the Animated UK Meets Europe initiative at Cartoon Forum, highlighting why this platform is central to ensuring that the UK’s creative voice remains strong across European markets.

Post-Brexit realities have reshaped the way UK producers can participate, with funding decisions now limiting involvement to minority co-production partnerships. Yet Kate underlines that Cartoon Forum remains a vital space, not only for showcasing UK work but also for setting an example for future generations on overcoming structural challenges, such as the loss of access to Creative Europe MEDIA funding.

She also references Animation UK’s Blueprint for Sector Growth, which makes the proposal for closer alignment with European policy frameworks to strengthen long-term collaboration.

👉 Read the full interview here to explore Animation UK’s case for the UK animation industry re-joining Creative Europe.

The VFX and Animation World Atlas reveals global growth over the last 12 months

UK Screen Alliance in conjunction with the British Film Commission are proud to be platinum sponsors of the 2025 edition of the Visual Effects and Animation World Atlas, published today (29^th July).

The Atlas presents a snapshot of the global workforce, and as the data collection is repeated every quarter, it gives an indication of the recent changes in the sector. The data is drawn from a study of 120,000 VFX and animation professionals associated with 2,450 studios worldwide, and is collected from public sources such as company websites and individual social media profiles.

The Atlas shows that the global VFX and animation work force grew by 9.3% in the second half of 2024, followed by a contraction of 7.6% in the first half of 2025, giving a 1% net industry global growth over the past 12 months. The London workforce reduced by 5.1%. This figure includes the impact on the UK of the global collapse of the Technicolor group, which resulted in the shuttering of The Mill and MPC in February; followed by the closure of Jellyfish Pictures in March. Together these accounted for the loss of around 500 jobs in the UK.

London remains by far the largest city hub in Europe for VFX and animation, with 10,564 people, more than double the size of Paris, it’s closest European rival. In the global league table, London sits third, just behind Mumbai on 10,866, and Los Angeles on 12,354.

The UK has recently improved its tax incentives for film and TV, with an uplifted rate of 29.25% net for VFX, which is also now exempt from the 80% cap on eligible expenditure. VFX, post production and animation are also eligible for a net rebate of 39.25% for films with core production expenditure under £15 million. Although the VFX uplift can be claimed on expenditure from January 1^st 2025, it wasn’t confirmed in UK law until late March, with many productions reportedly delaying decisions for this certainty. UK Screen Alliance, the trade body for VFX, post and animation, feels that the impact of the recent improvements is only just beginning to be apparent.

“The VFX and Animation World Atlas is fast becoming an invaluable data source for our industry with its trend analysis and up-to-date information. But even though the data is recent, it reflects the industry as seen through the rear-view mirror. UK Screen Alliance has surveyed its member companies to gauge future sentiment, and found that 71% have seen an increase in sales enquires since the introduction of the VFX uplift, with 43% of those surveyed indicating a significant increase. As those enquiries translate into confirmed bookings VFX companies are showing increasing confidence in a return to sustained growth in excess of 5% over the next 12 months.
“The UK’s VFX industry has an unrivalled reputation for success, with award-winning innovative crews. Now that we can couple that with a competitive tax incentive, we know that many productions are viewing the UK as a priority destination for VFX. “
Neil Hatton, CEO of UK Screen Alliance

The VFX and Animation World Atlas is available as a free download from www.vfxatlas.com

Animation UK welcomes Creative Industries Sector Plan

Animation UK warmly welcomes the Government’s launch of the Creative Industries Sector Plan as a powerful recognition of the UK’s world-leading screen industries and a vital step towards long-term growth, innovation, and opportunity across our creative economy.

The new plan, part of the UK’s Industrial Strategy, sets out significant measures to boost the creative sector, many of which will have a direct and positive impact on animation. As one of the most dynamic and geographically diverse sectors in the creative industries, UK animation stands to benefit from:

£75 million Screen Growth Fund: A dedicated investment to develop and showcase UK film and TV content, with animation recognised as a central and distinctive contributor, combining high-quality storytelling, exportable IP, and world-class visual innovation that underpins the UK’s global screen reputation.
Mayoral Strategic Authority Funds: The £150 million devolved funding for Mayoral Authorities offers an important opportunity to build regional animation hubs and support tailored investment readiness. With 63% of animation companies located outside London and the South East, this investment is vital to grow and sustain the UK’s vibrant animation ecosystem.
UK Global Screen Fund Expansion: The enhanced funding for the UK Global Screen Fund further strengthens international market access, co-production, and distribution of British screen content including animation. This supports our mission to grow global reach for UK studios and celebrate our storytelling on the world stage.
Support for Research & Development: The government’s commitment to creative R&D, via UKRI, a new wave of creative clusters, and revised R&D tax guidance reflects the constant innovation inherent in animation. From pioneering virtual production and immersive storytelling to pushing boundaries in visual effects and AI, animation is a natural leader in the ‘createch’ revolution.
Skills and Talent Investment: With initiatives such as the Creative Careers Programme, creative skills bootcamps, and a new National Centre for Arts and Music Education, the plan reinforces the importance of nurturing the next generation of animators and supporting talent in XR, immersive technologies, and audio-visual production.
British Business Bank support: Increased access to finance, including new debt and equity funding and support for IP-backed lending, will enable more animation companies, especially SMEs and start-ups to scale and thrive in a globally competitive market.

The launch of the Creative Industries Sector Plan is a strong signal that government understands the value and potential of the UK’s animation sector. This is a strategic and long-overdue commitment to supporting the most innovative and geographically diverse part of the screen sector.
We are especially pleased to see the inclusion of many of the priorities we set out in the Animation UK Manifesto 2025, including the development of animation hubs, enhanced R&D investment, and a clear recognition of the need to unlock access to finance and build a future-facing skills pipeline.
The UK animation sector is ready to deliver, creating jobs, high-value IP, and internationally celebrated content. This plan gives us a platform to grow, and we look forward to working with industry and government to turn it into action..
Kate O’Connor, Executive Chair of Animation UK

The full Creative Industries Sector Plan can be downloaded here.

£75 million funding boost for UK’s world-class film and TV industry as part of landmark new Sector Plan

UK Screen Alliance welcomes the government’s investment in the UK’s film and TV industry to secure the nation’s position as a world-leading production hub.

Funding will support new £75 million Screen Growth Package to develop UK film and TV industry.
Funding forms part of the wider Industrial Strategy, which aims to grow the economy and deliver the Government’s Plan for Change.
National Film and Television School to also benefit from £21 million funding from government and sector.

The Screen Growth Package forms a central pillar of the Creative Industries Sector Plan, designed to enhance the UK’s status as a global creative superpower by 2035. The strategic funding will deliver benefits across the UK screen industry by:

Expanding the UK Global Screen Fund to £18 million annually (2026-2029) to develop international business capabilities, enable co-productions and showcase independent UK screen content worldwide.
Investing £10 million to expand the National Film and Television School at its primary site in Beaconsfield, unlocking £11 million in investment from industry and private supporters, including from the Walt Disney Company, the Dana and Albert R. Broccoli Foundation and Sky. It will help to modernise its facilities, making them fully accessible for students with disabilities, and train 2,000 new trainees and apprentices over the next decade.
Opening pathways for young people from underrepresented backgrounds through a significantly expanded BFI Film Academy, providing hands-on filmmaking experience and specialist training for 16-25 year olds.
Investing £25 million in the businesses which are creating the next phase of augmented reality and motion capture technology, which has been used for productions including Wicked, A Picture of Dorian Gray and Those About To Die. This will fund five new CoSTAR research and development labs, which will help develop the next phase of augmented reality and motion capture technology. It will also fund two showcase spaces to demonstrate new createch, film, TV and games innovations to investors.
On top of the bespoke £75 million in the Screen Growth Package, a new £150 million Creative Places Growth Fund will also be devolved to six Mayoral Strategic Authorities. From Manchester to Bristol, Birmingham to Sunderland this funding will allow local leaders to support development of regional screen agencies and production funds to boost our film and TV clusters across the country.

From Barbie and Killing Eve to Adolescence and Saltburn, the UK already has a stellar track record of producing award-winning films and cutting-edge TV which are enjoyed by millions at home and around the world.
But I want us to go further and to cement the UK as the best place on earth to make film and television, as we deliver our Plan for Change. This landmark Sector Plan puts the creative industries at the heart of our economic growth strategy and is key to making that ambition a reality.
Lisa Nandy, Culture Secretary

The package will also strengthen the UK’s international appeal through continued support for the prestigious BFI London Film Festival and funding for the British Film Commission to attract further inward investment.

The plan provides foundations for the Government to take action to support public service media and the wider television ecosystem, building on the Media Act and Ofcom’s public service media review which is due this summer. The BBC Charter Review will also launch later this year, to set the BBC up for success long into the future.

The Screen Growth Package is one element of the full Creative Industries Sector Plan, part of the Government’s Industrial Strategy, identifying the film and TV industry as a high-growth sub-sector along with music, video games, and advertising.

This extensive funding package for the screen sector, follows on from competitive incentives for visual effects, animation and independent film introduced over the last couple of years. Together they put the UK in a strong position to cement our world leading position as a creative powerhouse, with growth and jobs in these high tech, high innovation and high productivity sectors.
Neil Hatton MBE, CEO of UK Screen Alliance

The UK is home to highly skilled and exceptionally creative artists, technologists, and thinkers who push the boundaries of what’s possible. The Creative Industries Sector Plan is a powerful show of support to those working in visual effects, film, TV, advertising, and immersive experiences. It will release unlocked potential and open doors to a new wave of talent across the country, giving them the confidence to build their skills, ideas, and innovations here, cementing the UK’s position as a global leader for years to come.
Mel Sullivan, Framestore

We’re pleased the Government recognises that our world-class screen industries drive regional growth and add billions to the UK economy—and that the BFI plays an important part in that success. Through the BFI Film Academy we open doors for young people from under-represented backgrounds.
The UK Global Screen Fund helps UK screen businesses expand into overseas markets, while our work with creative clusters, partners providing industry support services and the CoSTAR research labs attracts fresh investment. And every autumn, the BFI London Film Festival brings global cinema and international filmmakers to audiences here and shines a light on UK creativity worldwide.
Ben Roberts, Chief Executive of BFI

The real world impact of the Sector Plan in action will be felt through the NFTS’s expanded ability to train world-class, diverse talent and fuel growth in a sector where the UK is a global leader.
In a challenging climate for the creative industries, the support from the government isn’t just welcome, it’s strategic. This investment in the NFTS reinforces a commitment to skills, innovation, and the long-term future of the creative economy.
Jon Wardle, Director of National Film and Television School

The full Creative Industries Sector Plan can be downloaded here.