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Apr 23
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Investment for Create Central to boost West Midlands screen industries

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Create Central, the industry-led body set up in late 2019 has secured £2million of investment to deliver a programme of activities to help turbo charge the West Midlands film, TV and games sector.

Create Central has been awarded £1million through the BFI’s National Cluster Growth Fund using National Lottery money to deliver a long term growth plan specifically to meet the needs of the West Midlands’ screen businesses. In addition, £500,000 investment has been confirmed by the West Midlands Combined Authority (WMCA) and £500,000 from Tin Smart Social, a regional social enterprise.

The investment package will support the West Midlands local industrial strategy including a two-year programme developed by Create Central members to support the continued growth of the region’s screen sector which will be ever more important to the UK screen sector’s post Covid-19 recovery. The programme is heavily focused on the ‘future of media’, with innovation, digital infrastructure, immersive storytelling and digital employability programmes taking place amongst more traditional elements such as attracting film and TV production to the region and promoting the West Midlands screen sector on a global stage.

Leading industry professionals are backing the work of Create Central which has members including Peaky Blinders writer Steven Knight and Nativity film franchise founder, Debbie Isitt.

Steven Knight said: “I joined Create Central to work with other business leaders from the screen sector to ensure that Birmingham and the wider region attracts new international production, supports homegrown talent and shouts about all the amazing things happening already in the West Midlands. This support from the BFI could not come at a better time for our industry.”

Debbie Isitt added: “In these extremely challenging times this is a very welcome and meaningful investment for our independent film, TV and games makers. Create Central has come up with an action plan based on our collective experience of working in the region with the aim of supporting film, TV and games production over the next two years and beyond.

“Many talented people work tirelessly and passionately in this region and the BFI has clearly signalled their belief in us. We need to use this opportunity to ensure that we are ready to bounce back with the amazing talent that our region has to offer and be part of the human storytelling and economic recovery that the whole world needs right now. There is much work to be done but this is a wonderful opportunity to build a regional screen industry that will be of national and global importance for years to come.”

Create Central works in close partnership with the WMCA, the three Local Enterprise Partnerships, West Midlands Growth Company, The Innovation Alliance for the West Midlands, West Midlands Combined Universities, WM5G and other public sector organisations.

Mayor of the West Midlands, Andy Street, said: “This important BFI investment will help Create Central to deliver a dynamic programme of activities, especially at this challenging time for the screen sector. Create Central was established to improve the region’s film, TV and games industries, and this new funding will see it play a supportive role, focusing on boosting the resilience of the West Midlands screen industries and helping them to return to the growth they were generating prior to the coronavirus crisis.”

Create Central is today launching its search for industry specialists to work with them over the coming months to develop and deliver its ambitious programme – these include a global head-hunter to secure production investment into the region, an innovation lead and specialists in skills and training as well as communications and content.

Ben Roberts, Chief Executive of the BFI said: “The West Midlands film, TV and games sector has an important role to play in contributing creatively and economically to the UK screen industry, as well to the West Midlands local industrial strategy. We are pleased to be supporting Create Central with BFI National Lottery funding and see areas of business such as developing digital skills alongside film, television and digital production as crucial to the growth of the UK screen sector, creating jobs and new trading opportunities in the longer term.”

Founded just six months ago Create Central brings together nearly 30 of the region’s most successful TV, film, games and wider creative content business leaders who offer their time and experience to develop innovative approaches to turbo-charge the region’s creative content sector.

Chair of Create Central, Ed Shedd, said: “We established Create Central to provide energetic, collaborative leadership for our amazing creative content sector in the West Midlands. We have built early momentum, developing a region wide Growth Plan, and have now secured our first round of funding to deliver an exciting programme of activity: developed by our industry, for our industry. We look forward to announcing the details, and working with local businesses, over the coming weeks, months and years ahead.”

Cllr Ian Brookfield, WMCA portfolio holder for economy and innovation and leader of Wolverhampton City Council, said: “The wide ranging and damaging impact of the virus is being felt across many parts of the West Midlands screen industry and at many levels. That is why I am heartened by this announcement of new funding received by Create Central. Our region is home to some outstanding creative and cultural talent, and this new support is a much-needed boost in this difficult time.”

To find out more about Create Central visit www.createcentraluk.com

 

Source: www.createcentraluk.com

Apr 23
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Conway Network offers free courses

By Training No Comments

On Monday 23rd March 2020, the UK government announced lockdown for the country, closing most businesses including us. With these guidelines in place it forced Conway Network to cancel all of their classes, workshops and courses; put a hold on all events and projects and pause community engagement. Although this was an unsettling time for everyone at Conway Network it was important for them to innovate for the benefit of our customers…

Introducing ONForm – the new online platform that provides workshops, courses and one-to-one tutoring for aspiring creatives. It provides a platform for you to hone your craft, commit to your development and experience flexible training. This will launch on May 4th, 2020.

Stay tuned here.

Apr 20
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From Liverpool Docks to Hollywood Bowl: In Conversation with Mal Young

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Last year, TV Producer, Writer and Show Runner Mal Young shared his experience and knowledge of working both in Britain and the US, as well as giving insights into what makes a successful television drama.

To listen to Mal in conversation with RTS Midlands, Vice Chair, Dorothy Hobson, click here.

 

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Apr 15
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afci logo

AFCI Creates COVID-19 Production Resource for Filming Community

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The Association of Film Commissioners International (AFCI) is launching an online resource to help guide the industry through COVID-19 and the widespread production shutdowns. With the novel coronavirus shuttering film and TV productions, the AFCI Global Production Alert will provide the latest information about shooting restrictions worldwide.

Updated information on COVID-19-related policies and restrictions impacting filming locales worldwide. It can be accessed on AFCI’s website.

It aims to ensure that the film and TV production community have the information needed to make informed decisions during the pandemic and in its aftermath while also helping film offices avoid misinformation, speculation and confusion about the virus’ impact.

“AFCI’s new Global Production Alert provides a one-stop source for COVID-19-related information direct from film offices around the world,” said AFCI president Jess Conoplia. “We’re focused on helping the industry stay up-to-speed throughout each phase of the pandemic, from the current shutdown through the lifting of restrictions and return to production.”

AFCI member film offices will use the Global Production Alert to communicate updated information on how their jurisdictions (whether it be cities, states, provinces or nations) are dealing with a range of issues. Among them: restrictions on film or TV production, restrictions on inbound and domestic travel, the availability of key filming locations, processing of on-location permit applications and government programs, industry relief funds and other resources to help out-of-work crewmembers.

“AFCI’s Global Production Alert is a key tool for the industry as it waits for the green light to recommence work on projects around the world,” said AFCI advisory board member and HBO senior vp production Jay Roewe. Added fellow AFCI advisory board member and YouTube Originals global production head Kimberly Rach: “While we continue to work together behind-the-scenes to manage productions in hiatus, the ability to connect with film commissions at the click of a finger is key.”

Need to update information in this resource? Let AFCI know HERE.

For access to AFCI’s full member directory, please click HERE.

 

Source: www.afci.org

 

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Apr 15
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BFI FAN COVID-19 Resilience Fund for UK exhibitors – Deadline May 6th

By Funding No Comments

Applications are now open for the BFI FAN COVID-19 Resilience Fund, £1.3m of National Lottery funding repurposed to offer critical relief and business continuity to exhibitors across the UK.

The BFI FAN Covid-19 Resilience Fund has been launched with the intention of helping FAN members to maintain connections with audiences during the closure period and to be in a position to reopen and re-engage those audiences once the crisis has passed.

About BFI FAN (Film Audience Network)

The vision of the BFI’s UK wide Film Audience Network (FAN) is to build a wider, more diverse cinema audience with a richer appreciation of British and international film.

As of 20 March 2020, the achievement of these aims has been put at risk due to the Government directive to close cinemas, cultural venues and other places of gathering across the UK which, along with the mass cancellation of film festivals, has severely impacted on the ability of FAN Members to deliver to this brief.

Whilst audiences are at the heart of everything FAN does, its ability to reach those audiences in a collective setting is entirely dependent on the sustainability of the cinemas, festivals and other organisations that make up the Film Audience Network.

No one knows how long venues will remain closed but once they are able to open their doors again, it will be vital that buildings are still fit for purpose, core cultural assets have been retained and that they can benefit from a continued connection with the local communities that support them during the period of closure. For cultural organisations that do not operate from a publicly accessible venue the challenges may differ, but are still significant, and FAN will seek to alleviate pressure on its members in some way during this time of extreme difficulty.

About the Fund

The BFI FAN Covid-19 Resilience Fund has been launched with the intention of helping FAN members to maintain connections with audiences during the closure period and to be in a position to reopen and re-engage those audiences once the crisis has passed. This Fund is offered on the assumption that the disruption to audience activity could last 6 to 9 months and that the priority for all exhibitors and FAN members will be to get back on their feet as soon as venues are allowed to reopen (which may have to be on a partial basis to start with).

As such FAN, with support from BFI, has decided to direct the majority of its unallocated project funds towards this Resilience Fund which may mean that later in the year there is less available for ‘normal’ project activity. If however the Resilience Fund is not fully spent, any remaining funds will be reallocated to their original purpose enabling FAN Members to reach audiences with a varied and diverse film offering.

The total amount available is up to £1.3m. The BFI FAN Covid-19 Resilience Fund repurposes National Lottery funding originally allocated to each Hub for the purposes of supporting in-venue and other audience facing film activity over the next 6 to 9 months. Each Hub will therefore have a different amount of funding available within this overall total to offer in support of its Members.

Whilst the criteria and guidelines outlined below will apply across FAN, each Hub will have its own needs to meet and we expect this Fund to be heavily over-subscribed.
As such it is estimated that the average grant per organisation will be in the range of £5,000 to £15,000 and that grants over £20,000 will be exceptional. Grants must be used within 6 months of being offered or otherwise should be repaid. There are no formal match funding requirements for this Fund but we will expect to see clear evidence that you are actively seeking support from other appropriate sources.

The deadline for applications to the Fund is 6pm on Wednesday 6 May 2020. We do not anticipate issuing a further call for applications but this may be reviewed if the impact of Covid-19 is longer than anticipated and subject to initial demands on the Fund.

What is this Fund cover?

The purpose of this Fund is to support activity that will help FAN member organisations respond to the financial impact of the Covid-19 emergency. This might include:

  • Helping to maintain FAN member’s estate – buildings and other infrastructure such as IT – so that it is fit for purpose and ready for use once venues can re-open e.g. through assistance with rent, utilities, insurance and maintenance costs etc
  • Retaining cultural or intellectual assets such as staff that cannot be furloughed (e.g. leadership staff) or who are able to work on the organisation’s longer term sustainability e.g. through fundraising, audience engagement programmes etc
  • Offering short term support to meet irrecoverable costs incurred in planning or delivery of programmes that are now suspended
  • Audience engagement activity (including online) during the period of closure that will enhance Members’ ability to connect with its audiences and continue to contribute to FAN aims

Eligibility

Applicants must be FAN members that can demonstrate:

  1. (i)  Prior to 20 March 2020 a track record of substantive audience facing activity in line with BFI FAN priorities; AND
  2. (ii)  Immediate financial need;

Organisations that have been awarded BFI Audience Fund ‘Organisational Awards’ for 2020/21 are not eligible to apply even if they meet the above criteria.

Read more about the funding priorities in the guidelines here.

The following costs are ineligible under this Fund:

  • Costs or losses not incurred as a result of the Covid-19 pandemic
  • Costs for audience activity taking place beyond the next 6 months or for any activity within the next 6 months that involves in-venue audiences

In addition, funding does not cover costs that can be met by any of the Government’s emergency measures such as, but not limited to:

  • The Job Retention Scheme
  • Deferring VAT and Self-Assessment payments
  • The Statutory Sick Pay relief package for SMEs
  • The 12 month business rates holiday for retail, hospitality, leisure and nursery businesses in England
  • Small business grant funding of £10,000 for all businesses in England in receipt of small business rate relief or rural rate relief
  • Grant funding of £25,000 for retail, hospitality and leisure businesses in England with property with a rateable value of between £15,000 and £51,000
  • The Coronavirus Business Interruption Loan Scheme offering loans of up to £5m for SMEs through the British Business Bank
  • The HMRC Time to Pay Scheme
  • The Self Employment Income Support Scheme

For further information on these schemes and other relevant information, please visit the Government’s COVID-19 Support for Business page and the BFI’s COVID-19 support page which include information on the Covid-19 Film and TV Emergency Relief Fund.

To Apply

In the first instance you should contact your Film Hub lead by email and they will be in contact to discuss your application with you and advise what information is needed. Please also visit here for guidelines and more information. The deadline for applications is 6pm on Wednesday 6 May 2020.

If you have access requirements that mean you need assistance when applying for funds, you may be able to request financial support through the BFI Access Support Scheme. Find out more information here.

Please give careful thought to how much you need to request from this Fund and only apply where no alternatives are available to you – this will help us ensure funding goes
as far as possible. If you are seeking support from elsewhere but do not yet know if you’ll be successful, you will be asked to set this out in your application.

 

Source: filmhubmidlands.org

 

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Apr 15
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Repayable Grants Scheme opens – Deadline April 22nd

By Funding No Comments

The Film & Television Charity’s Covid-19 Repayable Grants Scheme is now open.

The new scheme offers financial grants of up to £2000 to support UK film, TV and cinema freelancers who are eligible for the Government’s Self-Employment Income Support Scheme but who are struggling with the wait for the Government payments due in June.

The repayable grants are interest free and applicants do not need to provide any guarantees. There’s no arrangement fee and recipients are asked to repay the grants once they have received their back-dated Government support.

What can I apply for?

You can apply for a repayable grant of between £500 and £2,000, which is intended to help cover essential living costs until the payment of your backdated SEISS income support in June. Applications should detail essential outgoings and grants will not be provided for costs that are non-essential or that can be deferred through other statutory assistance.

We know that many thousands of workers are finding themselves in difficult situations as a result of the COVID-19 pandemic. We want to help as many of them as possible. Please help us by only applying for the amount you absolutely need to cover your essential living costs.

To Apply

Before you start your application, we encourage you to download and read the guidance carefully. This explains who is eligible, and how to complete the application form.

Details on how to apply as well as the full set of application guidance can be found here.

Applications close Wednesday 22nd April.

 

 

Source: www.productionguild.com

 

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Apr 14
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Filming for the new Batman taking place in Glasgows Necropolis graveyard.

When Film and TV Production Starts Again, How Will the Crews Stay Safe?

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It’s been about a month since production work all but ground to a halt. No one knows when they’re going back — but those who work on the sets have some clear ideas of what they’d want from their post-coronavirus work environments. In the absence of a vaccine, or targeted antiviral drugs, the hope is for rapid virus and antibody testing for everyone on set, perhaps even on a daily basis.

To better understand the specific challenges that stem from working on set, IndieWire spoke to more than a half-dozen people in jobs that include production designers, dental prosthetics, and prop masters as well as directors and producers. The issues are far ranging, but it’s clear that they all want enhanced and far-reaching safety tactics to become second nature for everyone.

“I think everybody has been on a show when half the crew gets sick at some point,” said art director and production designer Michael Levinson, whose credits include “Dead To Me.” “[That’s] one thing when it’s a cold or even the flu, but it’s a whole other thing when the mortality rate is much more significant. We certainly know about personal protection equipment throughout the industry, but I don’t think that’s all foolproof. Until there’s a reliable treatment and a way to know for myself if I’m going to come home and get my family sick, that’s a different thing.”

While contagion could be a concern for any worker, production faces a particular challenge that’s built into the job itself. Whether it’s a film, TV show, or commercial, it’s a complex assembly that requires dozens, if not hundreds, of people working together in a relatively confined space over a long period of time. Working in any kind of isolation is impossible.

“Even if you find the right 45 to 100 people [who are healthy or immune] to make your movie, you’re not all clear,” said veteran cinematographer Benjamin Kasulke, who recently made his directorial debut on “Banana Split.” “There’s still too many points of ingress — who’s making the food, who rented the grip gear that everybody needs to touch in the same five places, because that’s how grip gear works.”

The challenges are present even for people working in jobs that use infection control in normal circumstances, like Gary Archer, who designed dental prosthetics for Adam Sandler in “Uncut Gems” and Mike Myers in “Austin Powers.” As a rule, he’s obsessed with disinfectionat his dental lab that also makes dentures and other devices However, working in such intimate proximity to others’ mouths, and the breath that may contain virus-infected droplets, means he views containment through medical intervention as the only solution.

“This is the first time I can honestly say, in 30-plus years, that I’ve been at home for two weeks straight — with one exception when I had surgery in 2001,” he said.

Such gold standards could be a long way off. It’s believed that many carry the virus while being asymptomatic, but testing is largely restricted to those showing symptoms. Absent rapid, universal testing, some essential businesses that remain open are relying on temperature checks and distributing face masks, a plan Amazon has implemented for its shipping and Whole Foods units. A vaccine isn’t coming anytime soon: Johnson & Johnson doesn’t expect human trials for its own until September.

When production does resume, people widely expect behavior to change. “I think everyone will return to work with a heightened attention to cleanliness,” said Hanelle Culpepper, who directed three episodes of the recent “Star Trek: Picard,” via email. “I would continue the standards we put in place in response to COVID-19 before the shutdown — elbow bumps instead of hugs (which is very hard for me because I’m a hugger); wrapping food individually at craft services; providing hand sanitizer stations throughout the set, and emphasizing that anyone who feels sick should stay home without any negative repercussions.”

Art director and prop master David Bridson, whose credits include 2017’s “Kings,” said one solution could be drastically reducing the number of people on set to the key people from each department, leading even big shows to go “documentary style.”

“When we rent furniture from different prop houses to bring on the set, is everything going to have to go through some sort of cleaning or sterilizing?” he said. “Creating a safe workplace when you’re bringing so many things from the outside — people, materials, grip equipment, lighting equipment — all of that is going to have to go through some kind of checkpoint.”

DeMane Davis, co-helmer of Netflix’s “Self Made: Inspired by the Life of Madam C.J. Walker,” points out that the impact of and our knowledge about the novel coronavirus changes on a daily basis, making it hard to say exactly what studios could do to make crews feel safe to return to work.

“We don’t know as much as we’re going to learn about COVID-19 itself and how it operates in order to contain it to a level where, ‘OK, I feel safe,’” she said. “I could feel really differently in a week or a month or two because this whole situation is evolving.”

Special effects coordinator Jeremy Hayes, whose work includes the flamethrower scene in “Once Upon a Time in Hollywood,” suggested productions should designate points of contact to manage the new working environment — similar to a sustainability supervisor — who can deal with hygiene issues. He also suggested that studios set up anonymous hotlines for those who fear that they appear overly cautious.

“Whatever eventually happens, I have faith that we will come up with something,” he said. “It’s an industry made up of problem solvers.”

 

Source: www.indiewire.com

 

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Apr 14
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Free webinar: Cashflow management and forecasting through Coronavirus

By Training No Comments

Join Ward Williams Creative, accountants for the creative industries as they share advice and practical tips on long and short term cashflow management and forecasting through the crisis. This is the Creative Industries Federation’s latest exclusive webinar.

This webinar is for Creative Industries Federation members. If you are not yet a member, the Federation is offering free six-month memberships to all freelancers, self-employed workers, and microbusinesses to help support you through this difficult time. Click here for more information.

 

About the webinar

Cashflow management and forecasting through Coronavirus
Members only
3:30pm, Wednesday 15 April

You can register for the webinar here.

 

Source: Creative Industries Federation

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Apr 14
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Creative Growth Finance Debt Fund

By Funding No Comments

The Creative Growth Finance Debt Fund, in partnership with Triodos Bank UK, is a £24 million fund providing vital scale up finance to the UK’s most promising creative businesses.

 

What they offer

  • Loans of £100,000 – £500,000
  • Capital repayment holiday of 6 months
  • Fixed interest rates from 7% – 15%
  • Repayment terms up to 4 years
  • Initial decision to progress within 3 days
  • 5% management fee will be charged on payment of the loan

 

Criteria

  • Your company must be registered in the United Kingdom
  • You must operate within the creative industries (by this we mean; Film, TV, Media, Immersive and Video Games, Advertising & Marketing, Digital & Creative Tech, Creative Software Solutions, Fashion, Architecture, Music, Publishing)
  • Your most recent annual turnover must have been at least £300,000
  • You must have at least one year of accounts filed at Companies House

 

The Investment process

  • To start your application, please follow the ‘apply here’ link below.  This will take you to an eligibility questionnaire.  If you meet the minimum criteria you will then be automatically directed to an Expression of Interest.
  • In the Expression of Interest we ask for some top level financial information – please complete the spreadsheet linked below and attach this to the online EOI.
  • The Investment team will review this information and make a decision within 3 days.
  • If your business in suitable, you will then be invited to submit a full application.  To complete this you will need an integrated finance model (more details about this can be found in the FAQs)  Also included is a version of an integrated finance model below for you to see as an example; management accounts; a sales pipeline and any other information you think might be relevant for us to review.
  • They commit to making all investment decisions within 4 weeks

 

To Apply

For further information on criteria, and the application process applicants must read the FAQs here

Before applying, please fill out the following spreadsheet: EOI Financial Information

Once you’ve completed the above, apply here.

 

Source: www.creativeengland.co.uk

 

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Apr 09
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The Arts Society offers screenings and TV lectures for over-70s

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The Arts Society Connected is a new digital platform being launched on 7th April.

Free to both The Arts Society’s 90,000 Members as well as the general public, The Arts Society Connected will host a series of fortnightly lectures by the UK’s leading art historians, as well as film screenings, live author Q&As and a community forum for anyone using the platform. The platform will launch on 7th April with a lecture on Las Meninas by Velázquez by Arts Society Accredited Lecturer, art historian and linguist, Jacqueline Cockburn.

 

About the Arts Society Connected

The aim of the platform is to help older Members of the population stay connected, educated, entertained and informed over the next three months. The core aims of the charity are to create a better, healthier and more connected society through the power of the arts to nourish and empower. The platform will create a welcoming community for both existing Members as well as the general public.

The Arts Society has moved quickly in response to the COVID-19 crisis to create this digital platform as a large proportion of Members are aged 70 and above and will be forced to isolate over the coming months. The Arts Society consists of 380 individual Membership groups, who organise regular lectures and educational trips to museums and galleries throughout the year. With the inability of Members to meet in person, The Arts Society Connected will ensure that Members are able to stay connected online even while they remain in isolation.

The Arts Society is working with its directory of Accredited Lecturers to create exclusive video lectures for the new platform. Lectures will be uploaded every other Tuesday at 11am. Members will be encouraged to take part in a community moment, when anyone planning on watching the talk can make a cup of tea at home and join the community forums online for a chat before and after the lecture. The Lecturer will also be available to answer questions in the community forums following their lecture.

 

Film/TV and other lectures

The first lecturers to be announced include: BBC TV presenter and Antiques Road Show regular Mark Hill, Award winning novelist, BBC broadcaster, art critic and lecturer Sarah Dunant, the UK’s leading Aboriginal art expert and gallerist Rebecca Hossack, Tate museum curator and Turner and nineteenth century art expert Nicola Moorby  and Antiques Road Show regular and Antiques expert Marc Allum. With more lecturers to be announced monthly.

In addition to the regular lectures, The Arts Society Connected will host a monthly film screening in partnership with Exhibition on Screen. The first film screening will be the UK premier of Easter in Art, a 90-minute film that will explore the different ways artists have depicted the Easter story through the ages, and how this informs our understanding of the history of East today.  In addition as part of their digital outreach programme, The Arts Society is also rolling out a package of social media training for Members in order to get them connected in the digital world.

Florian Schweizer, Chief Executive of The Arts Society: We are delighted to be able to connect with our Members through our new digital initiatives. The Arts Society normally offers hundreds of live lectures every month and plays an important part in the lives of our 90,000 Members – for the coming months we are not able to do this. Our new platform, online lectures and online meetings make a vital contribution to engage with people who have been instructed to stay at home for the coming months. We want to recreate and promote a sense of community, belonging and connection during a time of isolation and distancing. We believe the arts have the power to bring people together, and we will not let this virus stop communities from enjoying the arts with each other. We are working with our thousands of volunteers to develop new skills and initiatives, building resilience and a future in which many of our Members will embrace digital as a valuable addition to their cultural experience.

Find out more at www.connected.theartssociety.org

 

Source: www.theartssociety.org

 

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