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Audiences of the Future Consortium Building Event - Sports Entertainment - 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 Sports Entertainment Consortium Building event that took place 22nd May 2018 in Edgbaston Stadium.

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 Sports Entertainment Consortium Building event that took place 22nd May 2018 in Edgbaston Stadium.

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Audiences of the Future Consortium Building Event - Sports Entertainment - May 2018

  1. 1. Audience of the Future, Consortium Building Event SPORTS ENTERTAINMENT Tuesday 22nd May 2018 Edgbaston Stadium @UKRI_News #industrialstrategy #AudienceFuture
  2. 2. AGENDA 11.15 Welcome and Introductions 11.20 Audience of the Future: Scene Setter + Q&A 12.00 State of the Art: Presentations 12.20 State of the Art: Panel Discussion + Q&A 12.50 Lunch Break 13.30 Networking and Consortium Building 14.50 Wrap-up and Next Steps 15.00 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, specialist technology and data providers, Studios, talent, hardware, 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. Sports Entertainment • Experiences and formats that provide remote access to sporting events across a range of platforms and generate significant revenues from this remote audience in addition to spectators attending the events. • We particularly encourage proposals • That apply immersive technologies to new audience propositions in sports where remote audiences are (or could) be significant drivers of value. • Where events, rights positions and creative opportunities afford significant opportunities to engage the public 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 David Mahoney Chief Strategy Officer England and Wales Cricket Board @ECB_cricket
  28. 28. IMMERSIVE TECHNOLOGY AND CRICKET
  29. 29. Content 1. The state of cricket 2. Cricket and immersive technologies
  30. 30. A truly global sport… 100+ Cricket is played in over 100 countries 800m Cricket has over 800 million worldwide fans 730m There were over 730 million IT20 viewers in 2016 2.5m+ Over 2.5m watched WT20 Final 2016 on Sky Sports Sold Out The Women’s World Cup Final was a sell-out at Lord’s
  31. 31. …that dominates the narrative of the British summer 2nd 10m+ Highest ever 700+ hrs Growth The second most played team sport in England The game has 10.4 million followers in the UK There have never been higher attendances than in the last 2 years There were over 700 hours of live cricket broadcast on TV in 2016 The women’s game is set for exponential growth
  32. 32. Our Successes New Broadcast Partnership Doubled revenue from 2020 New tournament agreed to launch in 2020 Hosting World Cup in 2019: over 3 billion viewers Women won the World Cup Finalists in World T20 and semi-finalist in CT17 Launched All Stars to 37,000 kids (5-8) Fully independent Board
  33. 33. Good Governance & Social Responsibility Strong Finance and Operations Game for everyone Brave Cricket Innovativ e & Contemp orary Growth
  34. 34. Content 1. The state of cricket 2. Cricket and immersive technologies
  35. 35. CRICKET AND INNOVATION 55 22.0IMMERSIVE TECHNOLOGY
  36. 36. THE SIZE OF THE MARKET 56 22.0IMMERSIVE TECHNOLOGY VIRTUAL REALITY (VR) AUGMENTEDREALITY (AR) A digital environmentthat replacesthe user’s physicalsurroundings. Digital contentthatis superimposedovera live streamof the physicalenvironment. 82 million (UnitsGlobally2018) Sizeof smartphonemarket Potential3 billionglobally ImmersiveTechnology-whatis.techtarget.com 2018will beabigyearforaugmentedreality – but2021will bebigger
  37. 37. CRICKET IS ALREADY EXPERIMENTING 57 22.0IMMERSIVE TECHNOLOGY
  38. 38. IMMERSIVE TECHNOLOGIES & CRICKET 22.05.18 IMMERSIVE TECHNOLOGY 58 OUR APPROACH PERFORMANCE RECREATIONAL CONSUMER Building technology toimproveprofessional cricketers performance onthe field Creating experiences that allowrecreational cricketers togetmorefrom playing cricket whether in the back garden orat theirlocal club Maximising the opportunitiesfor cricket consumersto be exposed toand enjoy cricket whether ata game or at home VR VR/AR AR COMMERCIAL Generating revenue opportunities from immersivetechnologiesin cricket
  39. 39. IMMERSIVE TECHNOLOGIES & CRICKET 22.05.18 IMMERSIVE TECHNOLOGY 59 EXAMPLE PERFORMANCE RECREATIONAL CONSUMER VR Elite performancetraining,toprepare internationalplayersbeforemajortours andgames UseVR togivefansinhome experiences. CreatenewARexperiencesatclub or recreationallevel. ARtoenhancefanexperienceleveraging cricket’sdatarichexperience.VRto replicatethein stadiaexperienceathome (bestseatin thehouse) ImagesStrivr,EONSportsVR&MLB.com
  40. 40. STATE OF THE ART: PRESENTATION Chris Aylett CEO, Motorsports Industry Association @MIAmotorsport
  41. 41. AUDIENCE OF THE FUTURE SPORTS ENTERTAINMENT CONSORTIA Chris Aylett Chief Executive Motorsport Industry Association (MIA)
  42. 42. MOTORSPORT INDUSTRY ASSOCIATION The only business network organisation serving the global motorsport and High Performance Engineering industry • Whose 300 international corporate members transact over £5 billion of global motorsport business • Creating strategic alliances with government and industry, building networks and international business partnerships • Driving forward business growth initiatives to strengthen the motorsport industry, its profitability and success • Driver of cross-sector business and horizontal innovation  Energy Efficient Motorsport  Motorsport to Automotive  Motorsport to Defence  Motorsport to Creative
  43. 43. THE UK: A WORLD-LEADING MOTORSPORT CENTRE OF EXCELLENCE 8 out of 10 Formula 1 teams are either Headquartered or have major facilities in the UK 30% of sales turnover re-invested into R&D (10x that of road-car manufacturers) Over £10bn Estimated global sales turnover (2016) 4,300 Motorsport businesses 45,000 staff (incl. 25,000 highly skilled engineers & apprentices) 87% of UK motorsport businesses export The UK is “THE global leader in the sport and business of motorsport” Professor Michael Porter - Harvard University
  44. 44. MOTORSPORT ENTERTAINMENT TAKES MANY FORMS CONTINUOUS INNOVATION Rapid response delivery Constant prototyping Rigid time constraints Intense competition Changing technical regulations
  45. 45. MOTORSPORT AND CROSS-SECTOR INNOVATION Motorsport pioneered horizontal innovation, creating long term connections with other industries From Spitfires… To Race Cars…. To Automotive…. Defense…. Marine…. Aerospace… Medical… Retail… To Off-Highway, Energy Efficiency And more…
  46. 46. MOTORSPORT AUDIENCE OF THE FUTURE OPPORTUNITY FOR MOTORSPORT TO BE: • Personalised • Entertaining • Immersive • Interactive • Engaging • Realistic To continue to reflect motorsport’s pioneering nature - and remain competitive against other entertainment-focused sectors…
  47. 47. THE STATE-OF-THE-ART OF MOTORSPORT USING IMMERSIVE Aprilia Racing is using a augmented reality wearable device, DAQRI Smart Helmet, in order to visualize AR content that helps the mechanics during the preparation and maintenance of racing bikes. MOTO GP HOLOOAK AR EXPERIENCE Dassault Systèmes’ Design Studio has created the HoloOak AR experience for Everspeed Group in the context of the Le Mans 24 hour race. Users wearing a Microsoft Hololens AR device become immersed in a virtual environment in which they can interact with the actual vehicle and its virtual version.
  48. 48. ©MIA 2018 THE STATE-OF-THE-ART OF MOTORSPORT USING IMMERSIVE V8 Supercars are using real-time tracking and Augmented Reality technology to engage viewers whilst broadcasting their event live. The technology enables the viewer to see the inside of a virtual car and sit in the driver’s seat. https://www.youtube.com/watch?v=n CPNWYORqjc V8 SUPERCARS & NCAM AR TECHNOLOGY
  49. 49. ©MIA 2018 THE STATE-OF-THE-ART OF MOTORSPORT USING IMMERSIVE Formula E is the only event in the world that lets fans play an active role in influencing the outcome of the race. FANBOOST gives fans the opportunity to vote for their favourite driver and award them an extra boost of power during the race. https://youtu.be/m3hfb-J6k2w FORMULA E FANBOOST
  50. 50. ©MIA 2018 THE STATE-OF-THE-ART OF MOTORSPORT USING IMMERSIVE Since their integration in 2015, Epson’s Moverio smart glasses have allowed Mercedes-AMG Petronas Motorsport to offer the only augmented reality tour in the Formula One paddock, giving people a unique insight into the world of F1. MERCEDES AMG PETRONAS MOTORSPORT AUGMENTED REALITY GARAGE TOUR https://www.youtube.com/watch?v=6R1sjqU_dXc
  51. 51. Motorsport Industry Association The Apex on 10th Street Stoneleigh Park Warwickshire CV8 2LG Tel: +44 (0)2476 692 600 Email: emilie.gessen@the-mia.com www.the-mia.com CONNECT WITH OUR COMMUNITY
  52. 52. STATE OF THE ART: PRESENTATION Tim Part Senior Consultant, MTM London @MTMlondon
  53. 53. This document is confidential and intended solely for the use and information of the addressee State-of-the-art in Sports Entertainment Engaging the Audience of the Future 06.04.18│ MTM │ ross.taylor@mtmlondon.com │ Tel +44 (0) 20 7395 7510
  54. 54. We are an elite agency – offering a unique combination of skills, knowledge and experience in media and sport Audience insight & fan engagement Sports rights and media Sport growth strategies Advertising & sponsorship effectiveness Product development Media & tech futures
  55. 55. 75
  56. 56. 76
  57. 57. “You know, think about it, when you watch a show from Netflix and you get addicted to it, you stay up late at night…” “We’re competing with sleep, on the margin.”
  58. 58. What are the trends we are seeing in the sports market at the moment? art Fan generated content Unbundling (e.g. Sky) Growth of OTT platforms and D2C offers Growth of live second- screen activity Continued popularity of Fantasy Sports VR and interactive formats Smart stadia
  59. 59. Many tools at our disposal, but what, why and when should we use each of them? 74k659m 73m
  60. 60. The state-of-the-art toolkit for engaging the modern sports fan World-class research Media expertise Strategic thinking Data
  61. 61. STATE OF THE ART: PANEL DISCUSSION Prof Andrew Chitty@drewchit David Mahoney @ECB_cricket Chris Aylett @MIAmotorsport Tim Part @MTMlondon
  62. 62. LUNCH BREAK (45 minutes) 13.30 Facilitated Networking and Consortium Building 14.50 Wrap-up and Next Steps 15.00 Event End @UKRI_News #industrialstrategy #AudienceFuture
  63. 63. NETWORKING AND CONSORTIUM BUILDING Tara Solesbury Programme Manager AHRC Creative Economy Programme Audience of the Future Team
  64. 64. 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
  65. 65. WRAP-UP AND NEXT STEPS Prof Andrew Chitty Interim Challenge Director, Audience of the Future UK Research and Innovation @drewchit @UKRI_News #industrialstrategy #AudienceFuture
  66. 66. 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.
  • Let’s start by thinking about the successes we have had over the last two years

    New management team

    Strong board

    Engaged stakeholders

    Great progress and the chance to transform this game in this country
  • Let’s start by thinking about the successes we have had over the last two years

    New management team

    Strong board

    Engaged stakeholders

    Great progress and the chance to transform this game in this country
  • Let’s start by thinking about the successes we have had over the last two years

    New management team

    Strong board

    Engaged stakeholders

    Great progress and the chance to transform this game in this country
  • Let’s start by thinking about the successes we have had over the last two years

    New management team

    Strong board

    Engaged stakeholders

    Great progress and the chance to transform this game in this country
  • Let’s start by thinking about the successes we have had over the last two years

    New management team

    Strong board

    Engaged stakeholders

    Great progress and the chance to transform this game in this country
  • Aprilia Racing partnered with Realmore, a business unit of Equent Media Group, to develop a software application to be used in an augmented reality wearable device called DAQRI Smart Helmet. The device will be used to visualize AR (augmented reality) content to help mechanics during the preparation and maintenance of racing bikes. With the new technology, Aprilia mechanics can visualize content related to motorcycle parameters and infographics that also respond to user input in real time. For example, the technicians can interact with models of pinout connectors and see the wiring capabilities by looking at each connector individually. This speeds up cable connection activity and limits the risk of error. Through a 3D hologram of the entire racing bike, the mechanics will then be able to see in real time the telemetric data of the temperature of water, oil, and tires at the point where they will be most useful. They will also be able to make a checklist of the wear on some parts of the bike and evaluate when to do the replacement. Moreover, the chief engineer can communicate remotely with the mechanics by displaying an overlay on the helmet screen to guide them with strategic information such as the type of tires to be used, amount of fuel to put in the tank or the lap number of the exit. Another great functionality is the DAQRI’s integrated thermal camera which allows you to scan the motorcycle and visualize the temperature of the oil and the cooling fluid or check for any anomalies. The technology will be put into practice during the San Marino MotoGP at the Misano World Circuit in Italy on September 8 -10, 2017. 
  • How does FANBOOST work?
    The three drivers with the most FANBOOST votes are awarded a significant burst of power, which they can deploy in a 5 second window during the second half of the race. You can vote to FANBOOST your favourite driver in the 6 days prior to, and leading up to 6 minutes into, each race
     
    How do you vote on FANBOOST?
     
    There are three ways to vote on FANBOOST:
     
    1. Online at FIAFormulaE.com/FANBOOST
    2. On Twitter using hashtags #FANBOOST + #DriverName
    3. Via the official Formula E app
  • Combination of skillsets: consumer insight specialists, industry analysts, strategy and management consultants – working in a fully-integrated agency
    Unlike generalist agencies, we have a dedicated focus on the sport sector – in-depth knowledge, passionate experts, global network of relationships
    Bespoke methodologies, designed to match the specific requirements of each individual client: no reliance on ‘off-the-shelf’ analysis

    A unique ability to help the sports industry understand their audience, develop their market and solve challenging business problems
  • 25 years ago, Rupert Murdoch used football as “a battering ram” to sell pay TV subscriptions

    It’s safe to say that it worked out pretty well

    But the battering ram is no longer an effective tool, a state of the art weapon in the armoury for the sports industry, certainly not in terms of reaching an audience, be it mass or otherwise

    There’s one overarching reason for this…
  • …globalisation

    This is thanks to technological advances that you will be very familiar with:
    OTT platforms changing the way the sports audience consumes content
    Social media creating a culture of sharing, collaboration and recommendation amongst fans
    Fans demanding deeper, personalised, more engaging experiences

    The upshot of this is that not only are NGBs, leagues, clubs, and their commercial partners increasingly have to address an audience with many different wants and needs

  • Like this picture – the same ideal man, but with local variants. How does a football club for example, market to a fan in china vs the UK, given that Chinese fans tend not to support a single team but follow three or four?

    Even at a local UK level – the modern sports fan is a global citizen with access to content from all over the world.

    As a result there are more and more demands on their attention. That could be from new sports, for example the extremely fast-growing MMA and e-sports offerings.

    But more than that, sport is playing in a much bigger marketplace. It’s no longer just a case of football vs cricket vs rugby and so on, sport, as an entertainment medium is pitting itself against the likes of Facebook, Amazon and Netflix..
  • Here’s a quote that sums it up for me

    It’s from Reed hastings, Chairman of Netflix

    No-one should be under any illusuion about the magnitude of the task in connecting with audiences
  • So yes there are many state-of-the-art new technologies out there, but in my world, the strategy world in trying to deliver business growth, it’s not about these technologies per se, but when faced with something like this…
  • …state of the art is deciding what the fan journey is and which piece of amazing technology is appropriate at each stage.

    How do we do this?
  • My state-of-the-art is a little less sexy than immersive technologies, but it is vital, and it’s about simplicity and finding the silver bullet for the target audience

    Research: Qual and quant across a global panel
    Media expertise to value rights and content
    Strategic thinking to understand emerging trends and their potential impact
    Data – to validate decisions and ensure a virtuous circle of innovation
  • 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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