Type: Industry News
UK ANIMATION CELEBRATES GLOBAL CREATIVITY, COLLABORATION AND HONOURS AT ANNECY 2026
UK Pavilion returns to MIFA with international networking, expert advice, over 100 business meetings and a major celebration of UK animation talent
Hosted by Animation UK and supported by the BFI with National Lottery funding, the UK Pavilion will be based at MIFA Stand D.15 from 23–25 June 2026. The Pavilion, presented as part of the ScreenUK Industry umbrella, will provide a professional base for UK studios, producers, funders, agencies and international partners to meet, connect and explore new opportunities for collaboration.
This year’s UK presence places practical partnership-building at its centre. More than 100 business meetings have already been booked, with UK companies connecting with producers, broadcasters, distributors, funders, agencies and creative partners from across the international animation community.
Animation UK will also host a networking event for the UK and international animation sector, creating an informal opportunity to reconnect with established partners, meet new collaborators and celebrate the strength of UK animation at Annecy.
This year’s UK presence takes place at a particularly celebratory moment for British animation. Aardman, one of the UK’s most globally recognised and best-loved animation studios, is marking its 50th anniversary, while its founders, Sir Peter Lord and Sir David Sproxton, have been recognised with knighthoods in the King’s Birthday Honours. Sir Peter and Sir David will visit the UK Pavilion during MIFA alongside Oscar-winning director Nick Park, offering international delegates a chance to celebrate one of the UK’s most influential creative success stories.
Annecy 2026 also shines a spotlight on the breadth of UK and UK-partnered work across the Festival, from immersive storytelling and short films to commissioned work, feature projects and special events. The UK programme reflects the sector’s distinctive strengths: world-class storytelling, design excellence, technical innovation, internationally recognised IP and a long tradition of creative collaboration.
The UK Pavilion will support conversations around co-production, finance, tax relief, certification, export, skills, sustainability and international growth. Across the week, visitors will be able to meet UK companies and agencies, explore partnership opportunities, connect with representatives of nations and regions, and learn more about UK support routes, including AVEC, certification and the UK Global Screen Fund.
“Annecy is the world’s most important meeting point for animation, and the UK arrives this year with so much to celebrate. From emerging voices and bold new work to the extraordinary international legacy of Aardman, UK animation continues to create characters, stories and worlds that travel. The recognition of Sir Peter Lord and Sir David Sproxton in the King’s Birthday Honours is a landmark moment, not only for Aardman but for the whole UK animation sector. Their work has inspired generations of artists, producers and audiences, and their success shows the global impact of British creativity, craft and entrepreneurship. The UK Pavilion is here to make those connections practical. We want to help studios, producers, commissioners, funders and partners from around the world meet the UK sector, understand the opportunities, and build the collaborations that will shape the next generation of animated work.”
Kate O’Connor, Animation UK
Animation UK will also use Annecy to highlight the sector’s leadership and future. Ruth Fielding, joint managing director of leading animation studio Lupus Films, recently appointed Chair of the Industry Animation UK Council and joint Chair of the UK Screen Alliance, will be attending as part of the UK delegation, supporting Animation UK’s work to strengthen the business environment for UK animation and champion the sector’s creative and commercial potential.
The UK Pavilion is delivered in collaboration with partners from across the UK screen sector, including the BFI, British Film Commission, Creative Wales, Northern Ireland Screen, Film London and the Department for Business and Trade.
CHAIRS APPOINTED AT UK SCREEN ALLIANCE AND ANIMATION UK
UK Screen Alliance in partnership with Animation UK is pleased to announce the appointment of two industry chairs for their respective member councils
Ruth Fielding, joint founder of Lupus Films will become the chair of the Animation UK Council and Rowan Bray, MD of Clear Cut Pictures will take the chair at the UK Screen Facilities Council. These appointments ensure that the 200+ member companies of UK Screen Alliance and Animation UK continue to have a strong voice in the advocacy and policies pursued by the organisation, and that it is member-led for the benefit of all its members and the wider industry.
Ruth Fielding has 25 years’ experience in the animation industry and has produced feature films, TV series and TV Specials for all the major UK broadcasters and streaming platforms. Ruth was one of the animation producers who sat on the UK Government’s Treasury Working Group in 2013 to create the Animation Tax Credit and was a founding member of Animation UK. Films that Ruth has produced include much-loved family classics like, Ethel & Ernest, Kensuke’s Kingdom, The Snowman and The Snowdog, and We’re Going on a Bear Hunt. Ruth is a muti children’s and film BAFTA nominee and won an International Emmy Kids Award for The Tiger Who Came to Tea.
“I am delighted to be ‘giving back’ as it were, to the industry which has helped shaped my career. It gives me great pleasure to be at the forefront of the next chapter of Animation UK as we strive forward in our lobbying and advocacy to create an even stronger industry for the future.”
Ruth Fielding, joint founder and MD of Lupus Films
Rowan Bray has built her whole career around post-production, starting in bookings and working up to running some of the biggest post houses in the UK. She now leads the Clear Cut Group, comprising several award-winning post houses that specialise in all forms of non-scripted television and feature documentaries. As well as her day job, Rowan is heavily involved in training initiatives for the wider sector, including apprenticeships, and developing projects to help reduce the sustainability impacts of post-production for the whole sector.
“The work of UK Screen has never been more important than now With so much upheaval in the sector amid wider economic challenges, the association can provide targeted support to its members while celebrating their work, showcasing global pre-eminence in the skills and services on offer. I am looking forward to supporting their extensive and ambitious programme of policy, lobbying and promotion for the Post-Production, VFX and Animation sectors.”
Rowan Bray, MD of Clear Cut Group
Kate O’Connor will continue to support Animation UK as Strategic Lead, working alongside the Animation UK Council and its new Chair to help shape and deliver the organisation’s policy, advocacy and industry engagement priorities.
“Ruth is a hugely respected figure across UK animation, and her experience and insight will be invaluable as Chair of the Animation UK Council. A strong industry chair is vital to ensuring Animation UK remains member-led and focused on the needs of the sector, and I look forward to working closely with her.”
Kate O’Connor, Strategic Lead-Animation UK
“These two new chair appointments of highly respected figures in their fields, strengthens our governance and purpose. The chairs will ensure that we remain a highly focussed organisation, delivering advocacy, knowledge, and exclusive benefits for all our member companies. I cannot think of two better people than Ruth and Rowan to guide us in that quest.”
Neil Hatton MBE, CEO of UK Screen Alliance
CEO of UK Screen Alliance Makes the Case for Employer Engagement to Protect the Screen Industry’s Talent Pipeline
“The decisions we make now will shape the industry for years to come”: Neil Hatton’s call to action for employer engagement in Film, TV, and VFX further education
Capital City College (CCC) has launched a Creative and Digital Specialist Hub and Skills Advisory Board at its Mosaic@Soho campus, bringing together employers, educators and students to shape the future of digital and creative skills across London. This board launch is especially timely, following from the recent UK Government announcement this week of five new Technical Excellence Colleges (TEC)s, including CCC as a TEC for digital and technology.
At a busy launch event held this week, this new advisory board saw strong engagement from industry partners, including employers from global organisations, innovative start-ups and SMEs.
The event opened with a keynote from UK Screen Alliance CEO, Neil Hatton MBE, making the case for stronger engagement from employers in the film, TV, and VFX industry with the further education sector. With industry-aligned qualifications under threat from government reform and a generation of new talent at risk of being lost, he warned that inaction now could mean critical skills shortages when the sector’s recovery gathers pace.
Read Neil’s speech below:
Strengthening Employer Engagement in Further Education for Film, TV and VFX
Good afternoon everyone,
It’s a pleasure to be here with you today—educators, employers, and learners—people who collectively shape the future skills base of the UK’s film, television, animation, and VFX sectors.
Today, I want to focus on employer engagement with education—not as a “nice to have,” but as a strategic necessity.
Our creative industries are one of the UK’s great success stories: contributing an estimated £145.8 billion to the economy. That’s 5.5% of the UK’s GVA. They are a global export powerhouse, a magnet for inward investment, and a defining cultural asset. They are rightly recognised as a priority sector within the government’s Industrial Strategy.
And yet, this is also an ecosystem under extreme pressure, particularly in film and television, with rapidly evolving business models, adjusting to new geopolitical and investment realities, and disruptive technological change.
But just as TV and Film has its challenges, so too does education. Further Education has long operated under financial constraints, now compounded by a constantly shifting policy environment such as T Levels, V Levels, and the transition to a Growth and Skills Levy.
We may not agree with all these reforms. The creative industries—with their project-based nature—don’t always fit neatly into standardised systems. In some cases, government proposals risk undoing progress already made.
But this is precisely why employer engagement matters more, not less. As change accelerates, we must be actively involved—pragmatic, collaborative, and focused on shaping workable solutions. Its what we do day-to day-anyway!
Let’s look at the industry context and while recent history seems bleak, there is some sunlight.
Film and television have had a difficult three years. Since the pandemic, we’ve gone from the boom of peak TV and Covid catch-up, to the disruption of the writers’ and actors’ strikes. Beneath those strikes was a deeper recalibration: a shift from subscriber growth to profitability in streaming services, leading to reduced commissioning of original content. The anticipated post-strike recovery didn’t fully materialise.
Domestically, the BBC’s budget has fallen 30% in real terms, while for commercial broadcasters the cost-of-living crisis has weakened advertising revenues. The result has been less investment in content.
The film and TV world as we knew it before the pandemic, is not the reality now and we are still adjusting to a new normal.
Across the supply chain, we’ve seen redundancies, hiring freezes, and fewer entry-level roles. For many trying to enter the industry, opportunities simply haven’t been there.
And yet, this is not a story of decline across the board.
There are clear signs of renewal in some parts.
In VFX, recent tax credit uplifts are reinforcing the UK’s position as a global destination for inward investment. Data from the World VFX Atlas shows the London VFX and animation workforce grew by 10% over the past year. That is significant. 1000 people in new jobs.
Yes—budgets are down. Contracts are shorter and harder won. But the direction of travel for VFX is positive. There are tantalising signs of at least another 5% growth over the next 12 months. The global pie for VFX may have become smaller—but as a result of the tax credit changes that we campaigned for and won last year. the UK is poised to take a larger slice.
However, we must be realistic. The first phase of recovery focuses on experienced professionals—bringing back those who were laid off. Entry-level hiring may take little longer to return.
This creates a dilemma.
Because education does not operate on a one-year cycle. You can’t just turn it on or off based on current demand. It operates on a pipeline of three, five, even ten years.
If we allow that pipeline to weaken now, we may face labour shortages just as the industry hits its next growth phase.
Let’s zoom out further and consider the full talent lifecycle.
The digital VFX industry is still relatively young. It really began to take shape in the late 1980s and early 1990s. From 2001 to 2011, it gained significant momentum in the UK, mostly thanks to a young wizard called Potter.
Many of its early pioneers—those with 30-plus years of experience—will begin to step back in the coming years. This is not an immediate retirement crisis, but it raises important questions: will we have the right mix of skills and experience at the right time?
That depends on a functioning talent development pipeline—where mid-level professionals are supported to progress, and new entrants are ready to step in behind them.
It will just mention AI. It will have an impact, but not as existential as the doom-mongers have been predicting. It’s another useful tool in the box and creates opportunity if embraced thoughtfully. The jobs are still there but with upgraded skills.
I will just mention AI. It will have an impact, but not as existential as the doom-mongers have been predicting. It’s another useful tool in the box and creates opportunity if embraced thoughtfully. The jobs are still there but with upgraded skills.
At the same time, film and TV are no longer the only destinations for students who study it.
3D and real-time technologies are expanding from gaming and virtual production, into architecture, product design, immersive experiences, and beyond. 3D visualisation is increasingly embedded in sectors like automotive, healthcare, criminology, and life sciences.
We are also seeing the growth of the creator economy, where people are ignoring conventional career pathways. They are getting on with just doing their own thing, choosing to build their own opportunities rather than following traditional career pathways.
Now let’s turn to the education landscape itself, and to set the scene, I want to rewind fifteen years to 2011.
This report called Next Gen was published by NESTA. It was written by Ian Livingstone, founder of Eidos, and Alex Hope, founder of DNEG. Its subtitle was “Transforming the UK into the world’s leading talent hub for the video games and visual effects industries.”
In 2011, VFX and Games were enjoying a period of growth but they were already suffering skills shortages that were only alleviated by sourcing excellent skilled talent from overseas, an avenue that just a few years later would be choked off by Brexit.
The report was critical of the subjects then available in the curriculum, and advocated for the blend of skills required by these frontier sectors to thrive, namely STEM coupled with Art and strong emphasis on coding.
The report inspired a group of forward thinking games and VFX employers to collaborate with AIM Awards to create a Level 3 extended diploma in Games, Animation and Visual Effects Skills, as still taught with great success here today at Mosaic.
Additionally these employers developed a strong and innovative package of industry engagement for the colleges teaching the qualification, and formed the NextGen Skills Academy network of affiliated colleges.
Mosaic is one of 13 colleges teaching the Next Gen qualification. Across the UK there’s around 600 students currently enrolled. And the outcomes are good with 78% of alumni passing into higher education on relevant degree courses, 12% starting work directly and 8% getting apprenticeship placements.
So far so good, but here’s the rub.
Government policy is moving towards a simplified Level 3 landscape centred on T Levels, V Levels, and A Levels. Specialist qualifications like NextGen—and others such as UAL diplomas—are at risk of defunding.
These qualifications underpin the teaching in specialist institutions like Mosaic, but also at London Screen Academy, ELAM and The Brit School and provide flexible, industry-aligned pathways. To lose these qualifications would significantly impact how we prepare students for careers in the creative industries.
It looks as if the UAL qual will be defunded by the academic year 27-28.
The Aim/NextGen qual could survive until 2029-30, but it’s living on borrowed time.
We are expecting DfE and Skills England to issue an implementation plan that confirms these timelines in June or July this year.
This is understandably frustrating. Industry has already invested heavily in building effective pathways. What exists is not broken—and does not need fixing in this way.
But we are rapidly approaching the end of the runway and may soon need to consider alternatives. Doing nothing is not an option. Nor is accepting new qualifications designed without meaningful industry input.
Employer engagement, therefore, becomes essential.
If industry does not actively shape these new pathways, we risk ending up with systems that fail to meet real-world needs.
So what are the options?
T Levels offer depth and include a mandatory work placement—but raise challenges around scalability, geographical access, and employer capacity.
V Levels provide broader reach without mandatory placements—but with significantly reduced teaching time.
We may need to support both, depending on context and future announcements on placement flexibility.
So how do we move forward?
First; stronger collaboration.
Advisory boards are important to create deeper partnerships—co-designing courses, sharing insight, and creating fast, effective feedback loops.
Curricula must reflect real industry needs. That doesn’t mean chasing every new tool, but it does mean focusing on core, transferable skills: problem-solving, storytelling, shot composition, communication, collaboration, and adaptability. The Core Skills of VFX Handbook that we co-funded last year is example of effective collaboration between academia and industry.
Second; placements and apprenticeships.
There is no substitute for real-world experience. But we need more flexible models—shorter placements, project-based work, virtual opportunities.
We need to bring employers to students as well as students to employers.
Apprenticeships remain valuable, but must work for employers—supported by appropriate incentives and flexible delivery models.
I will continue to press government to build these necessary flexibilities into T Levels and apprenticeships. But we will need employers of all sizes to open their doors to more students.
Third; tutor development.
Educators need access to industry to teach effectively. If we invest in teachers, we invest in every student they go on to teach.
We should expand opportunities for industry exchange—teachers gaining industry experience, and professionals contributing directly to education.
I’m proposing a pilot scheme with the GLA to encourage bidirectional industry exchange initiatives—where tutors go on placements in studios—and industry professionals spend time teaching in colleges.
There’s real progress on the horizon here.
And finally; inclusion.
We must widen access—not only because it is right, but because diversity goes hand-in-hand with creativity and innovation.
This means reaching new communities, creating alternative entry points, and ensuring pathways are visible, accessible, and viable.
So, to conclude:
The industry is beginning to recover. Growth is on the horizon. But the talent pipeline that underpins that growth needs attention now.
My call to action is simple.
To employers: see education as part of your workforce strategy. Offer placements, contribute to curriculum development, and invest time in shaping the future talent pool.
To educators: continue to adapt and innovate. Build partnerships, focus on core skills, and prepare students for long-term careers, not just first jobs.
And to all of us: work together.
If we act in isolation, we create fragmentation and inefficiency. In a time of constrained resources, collaboration is essential.
None of this is easy. But difficulty is not an excuse for inaction. The decisions we make now—about engagement, collaboration, and investment—will shape the industry for years to come.
The Next Gen report remains as relevant today as it was 15 years ago. I’m going to borrow Alex Hope’s final words in his conclusion to the report, as they seem to perfectly sum up this call to action. He said then, “We cannot sit back and allow others to do it for us. We must step up and contribute.”
I echo his words and sentiment. I’m up for it. Are you?
Thank you for listening.
BAFTA TELEVISION CRAFT AWARDS 2026 NOMINATIONS ANNOUNCED
The nominees have been announced for the 2026 BAFTA TV Craft Awards, highlighting the work of UK Screen Alliance members
Yesterday, BAFTA announced the nominations for the 2026 BAFTA Television Craft Awards with Samsung OLED, hosted by Maisie Adam, celebrating the very best in television over the past year.
View the full list of nominations for the BAFTA TV Craft Awards with Samsung OLED HERE. Below, find the nominees for Special, Visual, and Graphic Effects.
BAFTA TV Craft Special, Visual, and Graphic Effects Nominees
Andor
- Industrial Light & Magic
- Luke Murphy
- Mohen Leo
- Neal Scanlan
- Jean-Clément Soret
Prehistoric Planet: Ice Age
- Framestore
- Russel Dodgson
- Andy Jones
- Simon Bland
- François Dumoulin
- Gavin McKenzie
USSR Callister: Into Infinity (Black Mirror)
- Union VFX
- Stargate Studios Malta
- Magic Lab Studios
- James MacLachlan
- Josie Henwood
- Sam Chynoweth
The Witcher
- Sara Bennett, Milk Visual Effects
- Richard Reed
- Scanline VFX
- David Stephens
- Jet Omoshebi
- Caimin Bourne
A special mention to the team at Cinesite for their work on The Witcher, as well as the team at Milk VFX, and One of Us.
The BAFTA Television Craft Awards with Samsung OLED will take place on Sunday 26 April.
Greater Manchester Animation Sector Report
Landmark North West Animation Survey highlights urgent need to treat animation as a priority sector
On Monday 9th March, the results of a major sector survey mapping the scale, growth and challenges of Greater Manchester’s animation, VFX, motion graphics, games cinematic and immersive media industries were published. The research was led by Manchester Animation Festival in collaboration with BBC Children’s & Education, MediaCity and the MediaCity Immersive Technologies Innovation Hub, following the launch of a landmark data‑gathering initiative in October 2025 designed to build the most comprehensive portrait to date of the region’s animation ecosystem.
The report makes compelling case for animation to be recognised as a strategic industry in its own right, rather than continuing to sit in the shadow of broader film and television policy. It presents Greater Manchester as one of the UK’s most significant animation hubs, with decades of accumulated skills, global relationships and cultural impact, but also warns that the sector is now under growing strain.
“With this regional report, Greater Manchester Combined Authority now have both the data and the unique opportunity to make real changes that benefit it’s internationally renowned collective of creatives working in the animation sector and to set to the blueprint for prosperity that the rest of the animation hubs across the UK can follow.”
Dr Steve Henderson, Festival Director at MAF and GMAS Survey Author
The findings show a region with a substantial and internationally significant animation ecosystem. Greater Manchester’s strengths extend well beyond one part of the screen sector, encompassing animation, VFX, motion graphics, XR and games-related work, supported by a recognised creative community and important industry platforms such as Manchester Animation Festival and Motion North. The report also highlights the importance of these events in supporting networking, confidence, recruitment and industry visibility.
Yet the report is equally clear that this is a sector facing real fragility. It warns that without targeted intervention, Greater Manchester’s animation industry could contract rapidly through the loss of freelance talent, erosion of skills and declining confidence in the viability of animation careers. That warning is backed by stark survey findings: 42% of freelancers said they feel less secure about their role in the industry, while 28% said they are actively seeking opportunities outside animation. Once lost, the report notes, the workforce and expertise will be extremely difficult and costly to rebuild.
The report also argues that animation is too often overlooked in policy despite offering something strategically different from much of the wider screen economy. While inward investment in film and high-end television brings jobs and short-term activity, the report notes that much of the long-term value and IP ownership can sit elsewhere. Animation, by contrast, is described as inherently IP-driven, capable of generating enduring brands, long-tail revenue and stronger local creative identity.
That distinction matters not only for Greater Manchester, but for the UK as a whole. The regional case set out here reflects a wider national problem: animation is often nominally included within the broader TV and film sector, but in practice receives far less tailored recognition and support. This is even though animation is a high-skill, high-value, innovation-led and export-facing industry, with business models and workforce structures that differ materially from live action.
The recommendations in the report are therefore significant. They call for animation to be explicitly recognised as a priority creative industry within local and regional strategies, and for any screen office, screen fund or related support mechanism to actively include animation rather than defaulting to live-action film and television. The report also recommends support for early-stage animation IP, retaining ownership within the region, tackling freelancer insecurity, and strengthening flagship events that support the wider ecosystem.
For Animation UK, this should be seen as both a regional wake-up call and a national policy signal. Greater Manchester is not an emerging cluster asking for special treatment; it is an established animation centre warning that a valuable and distinctive industry is being placed at risk by under-recognition and under-support. If this is happening in one of the UK’s leading animation regions, it should concern policymakers everywhere.
“Greater Manchester’s report shows clearly that animation is a high-value, high-skill, IP-generating sector that is too often overlooked in policy despite its cultural and economic importance. The regional picture it describes reflects a wider UK reality. If government is serious about backing the future of the screen industries, animation must be recognised as a priority sector in its own right before more skills, talent and creative capacity are lost.”
Kate O’Connor, Animation UK
Animation UK believes the implications go well beyond Greater Manchester. Across the UK, animation businesses and freelancers are under mounting pressure from weakened commissioning pipelines, fragile development routes and insufficient policy attention. The danger is that animation continues to be treated as an add-on to the wider screen sector, even though it is one of the UK’s most important indigenous creative industries — generating IP, building long-term value, developing specialist skills and contributing to both economic growth and cultural impact.
VISUAL EFFECTS SOCIETY ANNOUNCES WINNERS FOR THE 24TH ANNUAL VES AWARDS
From ‘Avatar’ to ‘KPop Demon Hunters’: Inside the 2026 VES Awards Winners
The Visual Effects Society has announced the winners of the 24th Annual VES Awards, which took place last night at the The Beverly Hilton in Los Angeles. The ceremony honoured outstanding achievements in visual effects across 25 categories spanning film, television, animation, gaming, technology, commercials, special venue projects, and student work.
The evening’s most decorated project was Avatar: Fire and Ash, which earned seven awards, including Outstanding Visual Effects in a Photoreal Feature. The film also received accolades for Outstanding Character in a Photoreal Feature for the character Varang, portrayed by Oona Chaplin, who presented the ceremony. A special congratulations to UK Screen Alliance Member, Industrial Light & Magic, for their fantastic work on Avatar: Fire and Ash.
In the animated feature categories, KPop Demon Hunters led with three awards. Among its honours were Outstanding Animation in an Animated Feature and Outstanding Character in an Animated Feature for the character Rumi.
Other top-category winners included Sinners for Outstanding Supporting Visual Effects in a Photoreal Feature; Prehistoric Planet: Ice Age for Outstanding Visual Effects in a Photoreal Episode; and BMW’s commercial Heart of Joy: Meet Okto the Octopus for Outstanding Visual Effects in a Commercial. A special congratulations to UK Screen Alliance Members, Industrial Light & Magic, Outpost VFX, and LIGHT for their outstanding contributions to Sinners.
Additional honourees included the video game Ghost of Yōtei (Outstanding Visual Arts in a Real-Time Project), the Disney+ series Andor (Outstanding Special (Practical) Effects in a Photoreal Project), and Azimuth (Outstanding Visual Effects in a Student Project).
“The VES is honoured to recognize brilliant artistry and technological innovation across a wide range of disciplines. The craft of visual effects is constantly evolving to push the limits of our imaginations, and tonight’s inspiring winners and nominees represent best-in-class work from around the world. Congratulations to all!”
Kim Davidson, VES Board Chair
(source: Visual Effects Society)
See the full list of winners below:
- OUTSTANDING VISUAL EFFECTS IN A PHOTOREAL FEATURE
Avatar: Fire and Ash
Richard Baneham
Peter Litvack
Eric Saindon
Nicky Muir
Steve Ingram
- OUTSTANDING SUPPORTING VISUAL EFFECTS IN A PHOTOREAL FEATURE
Sinners
Michael Ralla
James Alexander
Nick Marshall
Espen Nordahl
Donnie Dean
- OUTSTANDING ANIMATION IN AN ANIMATED FEATURE
KPop Demon Hunters
Joshua Beveridge
Jacky Priddle
Benjamin Hendricks
Clara Chan
- OUTSTANDING VISUAL EFFECTS IN A PHOTOREAL EPISODE
Prehistoric Planet: Ice Age; “The Big Freeze”
Russell Dodgson
Tracey Gibbons
François Dumoulin
Gavin McKenzie
- OUTSTANDING SUPPORTING VISUAL EFFECTS IN A PHOTOREAL EPISODE
The Residence; “The Fall of the House of Usher”
Seth Hill
Tesa Kubicek
John Nelson
Gabriel Vargas
- OUTSTANDING VISUAL ARTS IN A REAL-TIME PROJECT
Ghost of Yōtei
Jason Connell
Matt Vainio
Joanna Wang
Jasmin Patry
- OUTSTANDING VISUAL EFFECTS IN A COMMERCIAL
BMW; “Heart of Joy | Meet Okto the Octopus”
Tom Raynor
Helen Tang
Jack Harris
Alex Kulikov
- OUTSTANDING VISUAL EFFECTS IN A SPECIAL VENUE PROJECT
The Wizard of Oz at Sphere
Ben Grossmann
Tamara Watts Kent
Dr. Irfan Essa
Matt Dougan
Glenn Derry
- OUTSTANDING CHARACTER IN A PHOTOREAL FEATURE
Avatar: Fire and Ash; Varang: Leader of the Ash Clan
Stephen Clee
Stuart Adcock
Keven Norris
Joseph Kim
- OUTSTANDING CHARACTER IN AN ANIMATED FEATURE
KPop Demon Hunters; Rumi
Sophia (Seung Hee) Lee
Andrea Matamoros
Marc Souliere
Joshua Beveridge
- OUTSTANDING CHARACTER IN AN EPISODIC, COMMERCIAL, GAME CINEMATIC, OR REAL-TIME PROJECT
IT: Welcome to Derry; “The Thing in the Dark;” The Pickle Monster
Philip Harris-Genois
Pierric Danjou
Chloé Ostiguy
Jonathan Bourdua
- OUTSTANDING ENVIRONMENT IN A PHOTOREAL FEATURE
Avatar: Fire and Ash; Bridgehead Industrial City
Gianluca Pizzaia
Steve Bevins
Dziga Kaiser
Zsolt Máté
- OUTSTANDING ENVIRONMENT IN AN ANIMATED FEATURE
Zootopia 2; Marsh Market
Limei Z. Hshieh
Alexander Nicholas Whang
Joshua Fry
Ryan DeYoung
- OUTSTANDING ENVIRONMENT IN AN EPISODIC, COMMERCIAL, GAME CINEMATIC, OR REAL-TIME PROJECT
Andor; “Welcome to the Rebellion;” The Senate District
John O’Connell
Falk Boje
Hasan Ilhan
Kevin George
- OUTSTANDING CG CINEMATOGRAPHY
Avatar: Fire and Ash
Steve Deane
A.J. Briones
Zachary Brake
Andrew Moffett
- OUTSTANDING MODEL IN A PHOTOREAL OR ANIMATED PROJECT
Avatar: Fire and Ash; The Windtraders’ Gondola
Michael Smale
Sam Sharplin
Joe W. Churchill
Jacqi Dillon
- OUTSTANDING EFFECTS SIMULATIONS IN A PHOTOREAL FEATURE
Avatar: Fire and Ash; Simulating Pandora
Nicholas James Illingworth
Sarah C. Farmer
James Robinson
Ryan Bowden
- OUTSTANDING EFFECTS SIMULATIONS IN AN ANIMATED FEATURE
KPop Demon Hunters
Filippo Maccari
Nikolaos Finizio
Daniel La Chapelle
Srdjan Milosevic
- OUTSTANDING EFFECTS SIMULATIONS IN AN EPISODE, COMMERCIAL, GAME CINEMATIC, OR REAL-TIME PROJECT
Prehistoric Planet: Ice Age; The Big Freeze
Edward Ferrysienanda
Kevin Christensen
Guy Schuleman
Kevin Tarpinian
- OUTSTANDING COMPOSITING & LIGHTING IN A FEATURE
F1: The Movie; Modern Race and POV Footage
Hugo Gauvreau
Chris Davies
Raushan Raj
Amaury Rospars
- OUTSTANDING COMPOSITING & LIGHTING IN AN EPISODE
The Last of Us; “Through the Valley;” A Storm of Ice, Fire and Flesh
Tobias Wiesner
Mark Julien
Owen Longstaff
Brendan Naylor
- OUTSTANDING COMPOSITING & LIGHTING IN A COMMERCIAL
BMW; “Heart of Joy | Meet Okto the Octopus”
Alex Kulikov
Jack Harris
Adam Chabane
Nicola Borsari
- OUTSTANDING SPECIAL (PRACTICAL) EFFECTS IN A PHOTOREAL PROJECT
Andor; “Who Are You?”
Luke Murphy
Dean Ford
Jody Eltham
Darrell Guyon
- EMERGING TECHNOLOGY AWARD
Avatar: Fire and Ash; Kora Fire Toolset
Alexey Dmitrievich Stomakhin
John Edholm
Murali Ramachari
Aleksandr Isakov
- OUTSTANDING VISUAL EFFECTS IN A STUDENT PROJECT
Azimuth
Thomas Teisseire
Cassandre Cinier
Martin Bluy
Mathis Giraudeau
EE BAFTA FILM AWARDS 2026 NOMINATIONS REVEALED
As BAFTA unveils its 2026 nominations for Special Visual Effects, the outstanding work of UK Screen Alliance members takes centre stage
The 2026 EE BAFTA Film Awards Nominations have been released, highlighting the following work from UK Screen Alliance members in the Special Visual Effects category:
“Avatar: Fire and Ash” (20th Century Studios)
- Industrial Light & Magic
“F1” (Apple Original Films/Warner Bros.)
- Industrial Light & Magic
- Framestore
“Frankenstein” (Netflix)
- Industrial Light & Magic
“How to Train Your Dragon” (Universal Pictures)
- Framestore
“The Lost Bus” (Apple Original Films)
- Cinesite
- Industrial Light & Magic
- Belo FX
- Outpost VFX
- Rise
The EE BAFTA Film Awards ceremony will take place on Sunday, 22 February 2026.
OSCARS 2026 BEST VISUAL EFFECTS NOMINEES
Nominations for Best Visual Effects at the 98th Academy Awards have been announced, showcasing the incredible work of UK Screen Alliance members
“Avatar: Fire and Ash” (20th Century Studios)
- Industrial Light & Magic
“F1” (Apple Original Films/Warner Bros.)
- Industrial Light & Magic
- Framestore
“Jurassic World: Rebirth” (Universal Pictures)
- Industrial Light & Magic
- Important Looking Pirates
“The Lost Bus” (Apple Original Films)
- Cinesite
- Industrial Light & Magic
- Belo FX
- Outpost VFX
- Rise
“Sinners” (Warner Bros.)
- Industrial Light & Magic
- Outpost VFX
- LIGHT
The winners will be announced at the Academy Awards, which will take place on 15 March, hosted by comedian Conan O’Brien.
EE BAFTA FILM AWARDS 2026 LONGLIST REVEALED
The remarkable work of UK Screen Alliance members recognised in the 2026 BAFTA longlist
The 2026 EE BAFTA Film Awards longlists have been released, highlighting the following work from UK Screen Alliance members:
Special Visual Effects
Ten of 71 films submitted for consideration are advancing in the Special Visual Effects category:
“Avatar: Fire and Ash” (20th Century Studios)
- Industrial Light & Magic
“F1” (Apple Original Films/Warner Bros.)
- Industrial Light & Magic
- Framestore
“Frankenstein” (Netflix)
- Industrial Light & Magic
“How to Train Your Dragon” (Universal Pictures)
- Framestore
“Jurassic World: Rebirth” (Universal Pictures)
- Industrial Light & Magic
- Important Looking Pirates
“The Lost Bus” (Apple Original Films)
- Cinesite
- Industrial Light & Magic
- Belo FX
- Outpost VFX
- Rise
“Superman” (DC Studios)
- Industrial Light & Magic
“Tron: Ares” (Walt Disney Pictures)
- Industrial Light & Magic
“Wicked: For Good” (Universal Pictures)
- Industrial Light & Magic
- Outpost VFX
- Framestore
The EE BAFTA Film Awards nominations will be announced on Tuesday, 27 January 2026, and the ceremony will take place on Sunday, 22 February 2026.
OSCARS 2025 BEST VISUAL EFFECTS SHORTLIST REVEALED
The Academy highlights the work of UK Screen Alliance Members in Best Visual Effects Oscar Shortlist
The Academy of Motion Picture Arts and Sciences have announced the shortlist of 10 films in the running for Best Visual Effects for the 98th Academy Awards, highlighting the work of UK Screen Alliance Members:
“Avatar: Fire and Ash” (20th Century Studios)
- Industrial Light & Magic
“The Electric State” (Netflix)
- Industrial Light & Magic
“F1” (Apple Original Films/Warner Bros.)
- Industrial Light & Magic
- Framestore
“Frankenstein” (Netflix)
- Industrial Light & Magic
“Jurassic World: Rebirth” (Universal Pictures)
- Industrial Light & Magic
- Important Looking Pirates
“The Lost Bus” (Apple Original Films)
- Cinesite
- Industrial Light & Magic
- Belo FX
- Outpost VFX
- Rise
“Sinners” (Warner Bros.)
- Industrial Light & Magic
- Outpost VFX
- LIGHT
“Superman” (DC Studios)
- Industrial Light & Magic
“Tron: Ares” (Walt Disney Pictures)
- Industrial Light & Magic
“Wicked: For Good” (Universal Pictures)
- Industrial Light & Magic
- Outpost VFX
- Framestore
The Oscar VFX bake-offs will take place from 10-11 January, where the 10 shortlisted films will be considered for the final nominations, which will be announced on Thursday, 22 January.