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Audiences of the Future Consortium Building Event - Moving Image - May 2018

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The consortium building events enable bidders to find out more about the £16M Demonstrator Programme - competition to explore future global, mass market, commercial opportunities in immersive experiences and technologies through supporting a limited number of large and ambitious pre-commercial collaborations in four sectors. This is the presentation from the Moving Image Consortium Building event that took place 21st May 2018 in London.

The consortium building events enable bidders to find out more about the £16M Demonstrator Programme - competition to explore future global, mass market, commercial opportunities in immersive experiences and technologies through supporting a limited number of large and ambitious pre-commercial collaborations in four sectors. This is the presentation from the Moving Image Consortium Building event that took place 21st May 2018 in London.

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Audiences of the Future Consortium Building Event - Moving Image - May 2018

  1. 1. Audience of the Future, Consortium Building Event MOVING IMAGE Monday 21st May 2018 British Film Institute @UKRI_News #industrialstrategy #AudienceFuture
  2. 2. AGENDA 13.15 Welcome and Introductions 13.20 Audience of the Future: Scene Setter + Q&A 14.00 State of the Art: Presentations 14.15 State of the Art: Panel Discussion + Q&A 14.45 Tea and Coffee Break 15.15 Networking and Consortium Building 16.45 Wrap-up and Next Steps 17.00 Event End
  3. 3. Audience of the Future Context and demonstrator rationale Prof Andrew Chitty Interim Challenge Director Audience of the Future UK Research and Innovation #AudienceFuture #IndustrialStrategy 3
  4. 4. CHEAD presentation 14.04.18
  5. 5. “Immersive experiences are new forms of content, new narrative mechanisms and a new language around production which spans the Creative Industries….. “The best technology will not produce the step change needed without equal excellence in content production and understanding of immersion as a narrative form. “The UK must ensure it is the most highly skilled nation producing content that exploits these technologies” Sir Peter Bazalgette Independent Review of the Creative Industries
  6. 6. Audience of the Future To capture new global audiences and grow our leading market position in creative content, products and services by adopting, exploiting and developing immersive technologies. Challenge Statement *
  7. 7. • Immersive technologies (AR, VR, XR) are the most significant and potentially disruptive technologies to impact the Creative Industries since the web in the mid 90s • They present both opportunities and threats to the UK’s current level of global competitiveness as both IP creator and production centre • Global commercial opportunity for UK Creative Industries is through content/experiences enabled by immersive technology rather than platform or hardware Audience of the Future Rationale
  8. 8. That by 2025 UK is a global market leader in the creative immersive sector. 1. UK creates 10% of global creative immersive content 2. The UK Creative Industries sustains its above average growth. 3. The UK has a low barrier of entry for producing high-quality immersive content, 4. The UK has an increased skilled workforce to create immersive content. 5. Increased private investment in immersive technology and experiences Programme Objectives *
  9. 9. • Audience of the Future is central to Creative Industries Sector Deal • High expectations that AoTF will de-risk investment • Identifying/ testing viable audience propositions & business models • Innovation in production tools/reskilling workforce • Industry engagement across the value chain • Specialists in AR/VR/XR companies but also… • Content studios, IP owners, creative technology companies, hardware providers, platforms operators, investment community, distributors Industry Context
  10. 10. Audience of the Future – £33m grant funding • Ambitious, pre-commercial content innovations using global IP. • New experiences that advance the state of the art and test with real audiences at scale. • Large collaborations across the supply chain to explore future commercial models. • Talent development and experimental production for the Screen Industries • Delivered with Clusters Programme • Designing for future audiences £2m • Making content production cheaper, faster, more accessible £8m • Investment Acceleration £2m £16m Demonstrator Programme £12m CR&D Programme £5m Industry Centre of Excellence
  11. 11. £m 2018/19 2019/20 2020/21 Total ISCF Funding 4.50 14.00 14.50 33.00 Matched Industry Funding 1.70 8.10 9.70 19.50 CICP Funding 0.75 1.25 1.25 3.25 Total (£m) 6.95 23.35 25.45 55.75 Audience of the Future – a £56m programme
  12. 12. 19 Demonstrator Programme: rationale • That UK Creative Industries future success in Immersive economy will be based on our strength in innovation in content, experience and business not in technology • That investment in AR/VR/MR/XR at scale is currently held back by lack of clear audience propositions, forms and formats that could underpin commercial models and unlock required investment • The current market is largely pre-commercial, with much current work innovation driven, small scale, promotional or ancillary rather than seeking revenue generating opportunities from new audiences. • Public investment in a series of large scale, pre-commercial, collaborative experience demonstrators could stimulate content innovation, audience testing and business modelling at scale, provide sectoral learning and unlock investment.
  13. 13. • Up to £16m; Max Grant £4m • 4 areas identified with industry as maximum opportunity • Performance • Moving Image • Sport Entertainment • Visitor Experience • Looking for projects that can significantly advance creative, technology and commercial state of the art across a whole sector Demonstrator Programme: overview
  14. 14. © Royal Shakespeare Company
  15. 15. 35 Demonstrator Programme: Objectives • Innovation: we will support industry led consortia to develop NEW audience experiences that show they can significantly advance the current state of the art • Insight: each large scale demonstrator must reach an audience of >100,000 in order to learn lessons at scale • Capacity building/knowledge sharing: each consortium should have sufficient reach to advance knowledge across their sector and a plan for how to do that*
  16. 16. 36 What do we mean? • Significantly advance the current state of the art • Creative proposition • Audience Proposition • Commercial Proposition • Technical implementation • Reach >100,000 users across the lifetime of the project • One or more audience propositions or tests • Gather audience data • Derive commercial insight • Use globally recognised IP • To reach audience • To address rights and IP issues • To inform commercial models
  17. 17. 37 Ambition and Scale “Each one of these demonstrators would be the biggest creative VR project in the world at the moment” Jeremy Bailenson, Director Stanford VHI Lab
  18. 18. 38 Ambition and Scale • This is a very ambitious programme • but absolutely not just a VR one • We are looking for gamechangers • not just the next thing (a bit bigger) • or the same thing (a lot bigger) • or something that isn’t core to the future of the sector • The scale of funding available is beyond people’s current experience • in thinking, in project scope, production, scale of experience, talent • but we need to spend it wisely
  19. 19. 39 Consortia • To meet the ambition we think you will need to engage the whole value chain: • Specialist XR companies but also, academic and industry R&D teams, IP owners, rights holders, content and experience producers, GFX, Studios, talent, hardware, technology platform and distribution partners • In a consortium with a vision to impact the sector not just deliver a project for a single company or institution
  20. 20. Immersive Experiences: multisensory narrative or interactive audience experiences mediated through technologies including: • virtual, mixed and augmented reality (VR, AR, MR) • haptics • advanced visualisation • other sensory interfaces Definitions
  21. 21. Moving Image • Repeatable audiovisual audience experiences currently created for display on screens, including TV, films, games, animation and online media. • These can • be narrative, interactive or game-based experiences • be fictional or factual in nature • include adaptations from source material in other media • We are particularly looking for immersive audience experiences that use moving image expertise to create new audience propositions with mass market and commercial potential. Scope: Themes
  22. 22. • To be eligible to lead a bid for funding you must: • be a UK-registered business, • carry out your project work in the UK • intend to exploit the results in or from the UK • work in collaboration with others • Collaborations must include at least one SME • A business may only lead on one application and partner in a further 2 applications. • If not leading a business can be a collaborator in any number of applications. Eligibility: lead bidders
  23. 23. • You can claim up to a max £4 million in grant funding across the consortium • Significant match funding is required • To claim the max £4m grant total project costs must be > £5 million. • Total cost is the combination of the requested grant value and the applicant’s contribution. • We anticipate funding projects with total costs £5m to £10m and above • Demonstrators are classed as industrial research so are funded • up to 70% of your total project costs if you are a small or micro business • up to 60% if you are a medium-sized business • up to 50% if you are a large business Funding: lead bidders and companies
  24. 24. • Universities and IROs – 100% (80% FEC) • Other research organisations can claim 100% of their project costs • They must be non-profit distributing and disseminate project results. • Total research organisations max 30% of grant • Public Sector Organisation or Charity - 100% of eligible costs • Must be performing research activity & disseminate project results. • Must ensure that the eligible costs do not include work / costs already funded from other public sector bodies Funding: research organisations
  25. 25. • Application Deadline 1st August Noon • Assessment over August • Invitation to Interview 1st September • Interview panel w/b 10th (TBC) • Notification of outcome w/b 24th (TBC) • Projects start from 1st Nov 2018 • and must complete by 31st Dec 2020 Timeline
  26. 26. AUDIENCE Q&A Prof Andrew Chitty Interim Challenge Director, Audience of the Future @drewchit
  27. 27. STATE OF THE ART: PRESENTATION Daniel Wan Lead Digital Creative, Alchemy VR @alchemyVR
  28. 28. A W A R D - W I N N I N G C O N T E N T S T U D I O C R E A T I N G V R A N D A R E X P E R I E N C E S D A N I E L W A N – L E A D C R E A T I V E ( V R / A R )
  29. 29. FROM 2D TO 3D
  30. 30. “ V I R T U A L R E A L I T Y H A S T H E P O T E N T I A L T O T R A N S F O R M T H E W AY W E E X P E R I E N C E A N D T H I N K A B O U T T H E N AT U R A L E N V I R O N M E N T ”
  31. 31. T H E E X P E R I E N C E H A S G O N E O N T O E X H I B I T I N S O M E O F T H E W O R L D ’ S L E A D I N G C U LT U R A L I N S T I T U T I O N S A N D I N T E R N AT I O N A L F E S T I VA L S I N 2 0 1 7 I T WA S AWA R D E D T H E F I R S T B A F TA F O R V I R T U A L R E A L I T Y S T O R Y T E L L I N G
  32. 32. P R E S E N T E D B Y: D A N I E L WA N L E A D C R E AT I V E A R / V R D A N I E L W @ A L C H E M Y V R . C O M + 4 4 ( 0 ) 2 0 8 7 3 5 9 3 2 3
  33. 33. STATE OF THE ART: PRESENTATION Katie Grayson Head of Experience, Passion Pictures @PassionPix
  34. 34. EMOTIVE, CHARACTER BASED STORYTELLING Katie Grayson - Head of Passion Experience @Hello_Passion
  35. 35. TECHNOLOGY ENABLED STORYTELLING Katie Grayson - Head of Passion Experience
  36. 36. STATE OF THE ART: PRESENTATION Ben Roberts Director of the BFI Film Fund, British Film Institute @bfiben
  37. 37. STATE OF THE ART: PANEL DISCUSSION Prof Andrew Chitty @drewchit Daniel Wan @alchemyVR Katie Grayson @PassionPix Ben Roberts @bfiben
  38. 38. TEA & COFFEE BREAK (30 minutes) 15.15 Facilitated Networking and Consortium Building 16.45 Wrap-up and Next Steps 17.00 Event End @UKRI_News #industrialstrategy #AudienceFuture
  39. 39. NETWORKING AND CONSORTIUM BUILDING Tara Solesbury Programme Manager AHRC Creative Economy Programme Audience of the Future Team
  40. 40. NETWORKING AND CONSORTIUM BUILDING Five minute ‘speed meetings’ with potential collaborators Who are you? Why are you here today? What are you looking for? Move on to next meeting
  41. 41. WRAP-UP AND NEXT STEPS Prof Andrew Chitty Interim Challenge Director, Audience of the Future UK Research and Innovation @drewchit @UKRI_News #industrialstrategy #AudienceFuture
  42. 42. Email by end of this week with: Slides from today Video of all presentations Opt in delegate detail spreadsheet Want to opt in then contact: audience.future@ceprogramme.com Customer Support Service: 0300 321 4357 Support@innovateuk.gov.uk @UKRI_News #industrialstrategy #AudienceFuture

Notas

  • What do we mean by immersive experiences? Everything from the use of immersive technologies in the production of content to the augmentation of physical spaces, to new formats delivered by immersive platforms that provide new audience propositions and reveniw streams and we mus
  • * We have a plan for this too – through support for the programme via the Digital Catapult which we’ll cover I the scope
  • * We have a plan for this too – through support for the programme via the Digital Catapult which we’ll cover I the scope
  • Do not pass go, do not collect £4m.
    This is basically the opposite requirements of the scope section, but worth repeating.
  • Please notice the difference between grant and total costs, please don’t confuse the two.
  • Please notice the difference between grant and total costs, please don’t confuse the two.
  • My name is Daniel Wan and I’m the Lead Creative at Alchemy VR.

    I never quite know how to describe Alchemy - but the best way to sum us up is that we’re a factual/educational/documentary VR and AR content studio.

    Some might even describe us as ‘edutainment’ company – but I’m not sure how I feel about that term.

    Alchemy VR spawned from a successful television production company called Atlantic Productions, and they’re probably best known for their work with David Attenborough… who features heavily in the next five minutes!

    What I’m going to do in this presentation is run you through our journey – from flat screen TV to state of the art VR.
  • As a company, we are always looking for new ways to tell the story, whether that’s through an innovative technology or a completely new medium.

    Back in 2010 – we started exploring the capabilities of 3D, setting up our 3D production studio, Colossus. This was first step on the road to VR.

    Collaborating with Sky TV, we produced five 3D films featuring the Sir David. The one pictured here on the right – Natural History Museum Alive – won a BAFTA four years ago for Best Specialist Factual.

  • In 2015 – our move into Virtual Reality began in earnest.

    We were filming David Attenborough's Great Barrier Reef, a TV series for the BBC.

    The series took Sir David to his favourite place he has ever visited – the Great Barrier Reef in Australia.

    In the series he discovers what has happened to in the 60 years since he last visited, what the future holds and what people are doing to protect it.
  • During the production process, we realised something.

    The submersible Sir David and our crew were diving below the waves in was perfect for 360-degree filming.

    As you can see in one of this photo, which is one of my favourite shots from the series…

    The sub is essentially a completely see-through sphere of glass, allowing you to see everything around you.
  • That moment of inspiration became this.

    A VR experience that allowed you to sit alongside Sir David in the sub, as you dive beneath the waves.

    What could be better than a one-on-one tour of the Great Barrier Reef with the greatest naturalist of our time?



  • The experience exhibited in museums across the globe and this is what the Australian broadcaster, ABC, said about it after they previewed it at the Australian Museum in Sydney.
  • It has also exhibited at the National Museum in Canberra

    …. The Natural History Museum, London,

    … the Trondheim Science Centre, Norway

    …. and even at Glastonbury Festival, UK.

    It’s also launching on the Sony PSVR and Oculus platforms imminently.

    And incredibly, it became the first ever Virtual Reality film to be awarded the first ever BAFTA last year.
  • Next I’m going to talk about another of experiences – which utilized ‘state of the art’ technology to immerse audiences even deeper.

    We were was commissioned by Greenpeace to produce Munduruku: The Fight to Defend the Heart of the Amazon.

    The Munduruku are the indigenous people who live on the Tapajos basin in the Amazon rainforest.

    The Brazilian government however had plans to build a series of megadams on their land – in which they had no legal rights to, despite living there for hundreds of years.

    Part of a wider Greenpeace campaign, the VR was used as a tool to elicit empathy with the global population, and highlight the plight of the Munduruku people
  • It’s actually a multisensory experience played out in a large pod you step into, made in collaboration with the The Feelies.

    Here it is in the press tent at Glastonbury.

    We used whole bunch of contraptions to produce heat, humidity, smells, and wind effects.

    All to provide that extra level of immersion and make them feel like they were really in the Amazon Rainforest, living amongst the Munduruku,

  • Here’s what the inside looks like…..

    You sit in the chair, put on your headset.

    Then heat lamps, scent containers, wind simulators, humidifiers, and a vibrating ‘Sub Pac’ goes to work, automatically synched to what you’re seeing in VR.

    You’re even given various objects you’re asked to hold during specific scenes.

    The pod toured Brazil and Latin America, as well as the UK Film Festival Circuit.

    When I showed this to someone at SXSW – they came out of the experience crying.

    I was absolutely blown away.
  • VR has often been called an ‘empathy engine’.

    It has the capability to elicit empathy and emotional empathy with characters and content, on a far greater level than a flat-screen film.

    Research conducted by Stanford University has proven this.

    Basically, what they say is that the more immersive an experience, the more empathy the viewer feels, and the greater tendency they have towards pro-environmental behaviours.

  • And most importantly, it looked like we did get into people’s mind and hearts.

    The Brazilian Government announced an end to their policy of building dams in the area.

    And although we’d like to, we can’t take ALL the credit for this incredible victory, but the multi-sensory VR experience certainly helped to achieve it.

    And that truly is the power of immersive technology.
  • Thank you for listening, and if you have any questions, please do drop me a line.
  • Bags to the side / water?
    Just notebooks and business cards …if you are qill colleagues - spread out ! This session has been designed to allow you to meet as many people as possible in a very short time.
    You have 5 minutes per meeting in total, for each person to talk about there area of interest & expertise in the immersive space and why they are here today…
    if you are looking for partners for an existing project idea
    or interested in finding a project to partner on.
    Keep it short and concise,
    - you’ll hear the train whistle to indicate it’s time to swap over from doing the talking / listening and 3 to let you know its time to move ‘Stage left’ to your next meeting
    Share your contact details so you can expand on the conversations after the event – or even in the Swan Bar later today.
    Finally, as Andrew has covered this AM, successful demonstrators consortiums will contain a mix - businesses, cultural institutions, research base, IROs or third sector – which is what we have in this room…BUT not everyone you meet in the next hour will be a ‘perfect match’ but hopefully even if they are not a potential partner they will offer you insight into how other people are thinking about the opportunities presented by the demonstrator programme.

  • Email by end of week with:

    Slides from today
    Video of presentations
    Opt in delegate details
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