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Demonstrator application process briefing aot f may 2018



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Demonstrator application process briefing aot f may 2018

  1. 1. Audience of the Future Demonstrator Competition Briefing #AudienceFuture #IndustrialStrategy 1
  2. 2. 2 10.00-10.30 Overview and Context • Industrial Strategy • Audience of the Future • Demonstrator Programme Rationale Andrew Chitty, Interim Challenge Director, Audience of the Future 10.30-11.00 Demonstrator Competition Scope and Process: • Requirements • Themes • Application process • Timelines Matt Sansam, Innovation Lead, Innovate UK 11.00-11.30 Q&A - What support do you need? 11.30-12.30 Networking Demonstrator Briefing Session
  3. 3. Overview and Context Prof Andrew Chitty Interim Challenge Director Audience of the Future UK Research and Innovation #AudienceFuture #IndustrialStrategy 3
  4. 4. What is it? • Support for key sectors to transform or to emerge and grow • Extremely focussed on achieving well defined objectives that tackle a societal challenge • A focus on productivity and new skilled jobs What isn’t it? • A generic R&D fund Industrial Strategy Challenge Fund
  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. 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 *
  8. 8. The next wave of the Challenge Fund Data to early diagnosis & precision medicine Healthy ageing Next generation services Audience of the future Quantum technology Transforming construction Transforming food production Energy revolution
  9. 9. Audience of the future / Next generation services (pioneer) / Quantum technology (pioneer) Artificial intelligence and data economy Clean growth Energy revolution Transforming construction Transforming food production Healthy ageing Medicines manufacturing Data to early diagnosis and precision medicine Healthy ageing Future of mobility Faraday battery challenge Extreme robotics National space test facility Industrial Strategy Grand Challenges
  10. 10. • 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 Rationale
  11. 11. • 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
  12. 12. 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
  13. 13. £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
  14. 14. 22 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.
  15. 15. © Royal Shakespeare Company
  16. 16. • Up to £16m; 4 projects • 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
  17. 17. 38 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
  18. 18. 39 What do we mean by a demonstrator? • 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
  19. 19. 40 Ambition and Scale “Each one of these demonstrators would be the biggest creative VR project in the world” • This is a very ambitious programme • But absolutely NOT just a VR one • If at >1 of these projects does not significantly develop the case for AR/MR/XR at scale we will have failed • Looking for gamechangers • not just the next thing (a bit bigger) • The scale of funding available is beyond current experience • Must address this – in thinking, in project scope, production, scale of experience, talent etc. • We will be vigilant about over budgeting e.g. rights
  20. 20. 41 Consortia • To meet the ambition you will need partners from across the value chain • to access cutting edge research and innovation • To access and work with globally recognised IP or cultural brands • To create the experience • To engage the audeinces, present and test the experience • to advance knowledge across the sector • We would expect to see the whole value chain engaged: • Specialist XR companies but also academic and industry R&D teams, IP owners, rights holders, cultural institutions/governing bodies, content and experience producers, talent, hardware, technology platform and distribution partners
  21. 21. 42 Challenges • Scale • Risk • IP • Match funding • Sectoral impact • Ambition • Project Design • Consortium Structure • Budgeting • Public Visibility
  22. 22. Competition Briefing Tom Fiddian Innovation Lead Innovate UK #AudienceFuture #IndustrialStrategy 43
  23. 23. • Innovate UK, as part of UK Research and Innovation, will invest up to £16 million in 4 large scale creative industries demonstrator projects through the Industrial Strategy Challenge Fund (ISCF). This is part of the Audience of the Future (AotF) programme. Summary
  24. 24. Demonstrators? Internet of Things Cities Demonstrator: https://cityverve.org.uk
  25. 25. You’ll need to be: • in scope for the competition • eligible for funding As well as, writing and presenting a game-changing application in a highly competitive process. Recipe for success
  26. 26. Your project must demonstrate it can significantly advance the current state of the art in its chosen field. It must reach demanding audience targets, deal with current and future rights issues, and avoid excessive audience acquisition costs. To do this your proposal must include access to or use of globally recognised IP, or partnership with a rights holder or cultural brand. Scope
  27. 27. Your demonstrator must also: • develop new immersive experiences at a large scale, achieving a public audience across the project of more than 100,000 • demonstrate a high level of ambition, innovation and scale, with the goal of transforming the sector • bring together creativity, technology, human-centred design and data analysis in order to innovate creatively and technologically • generate audience, consumer and user insights that can be used to test the viability of new revenue streams and business models • demonstrate scalability and the potential to be exploited and replicated across the creative, cultural, live events and entertainment industries Scope
  28. 28. • 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 Scope: definitions
  29. 29. • The Creative Industries: the 9 sectors as defined by the DCMS/HMGovernment • Advertising and marketing • Architecture • Crafts • Design: product, graphic and fashion design • Film, TV, video, radio and photography • IT, Software and services (including computer games) • Publishing • Museums, galleries and libraries • Music, performing and visual arts Scope: definitions
  30. 30. This competition is the flagship for the ISCF Audience of the Future programme. We have identified 4 themes with significant disruptive, creative and commercial opportunities to grow new audiences through immersive technologies. This will help grow the UK’s creative industries. Scope: Themes
  31. 31. Moving image • We are particularly looking for immersive audience experiences that use moving image expertise to create new audience propositions with mass market and commercial potential.
  32. 32. • 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 Sports Entertainment
  33. 33. Visitor Experience • We particularly encourage ambitious proposals and partnerships with reach across the sector.
  34. 34. Performance • We particularly encourage proposals that: • explore the application of immersive technologies to the production or consumption of performance works (or both) • are relevant across multiple disciplines and in a wide range of contexts, including but not limited to conventional venues, festivals and site specific works.
  35. 35. Given the emergent nature of the field we will consider applications that are not confined to these 4 themes. This is providing you can show that your proposal meets all the criteria for a demonstrator. Other themes
  36. 36. • We will not fund projects through this competition that: • do not deliver an audience user experience, such as authoring or production tools • request substantial funding for non-UK based partners or sub-contractors • exclusively focus on new generic technologies such as e-commerce, streaming or social media • are technologies and experiences not primarily intended for a consumer audience, such as industrial or business-to-business solutions Projects we won’t fund
  37. 37. • You can claim up to £4 million. We expect your project’s total costs to be between £5 million and £10 million unless there are greater levels of business contribution. • Projects must start by November 1st 2018, and end by December 31st 2020. • If your project’s total costs or duration fall outside our eligibility criteria, contact us at least 10 days before the competition closes. Eligibility: project size
  38. 38. • To be eligible 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 (businesses, research base or third sector) • Collaborations must include at least one SME • Any one business may lead on one application and partner in a further 2 applications. If a business is not leading on an application it can be a collaborator in any number of applications. Eligibility: lead organisation
  39. 39. • Collaborative project partners can include: • businesses • universities • non-profit research and technology organisations (RTOs) • independent research organisations (IROs) • cultural institutions • Non-business partners cannot lead on an application but can collaborate on any number of applications. Eligibility: collaborators
  40. 40. • Funding is available for projects with total costs £5 million and over. This total cost is the combination of the requested grant value and the applicant’s contribution. The maximum grant you can claim is £4 million. • Demonstrators are classed as industrial research, for which you could be 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:
  41. 41. Universities – 100% (80% of Full Economic Costs) Other research organisations can claim 100% of their project costs • They must be non-profit distributing and disseminate project results. 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
  42. 42. All the research organisations on your project combined cannot claim more than 30% of total eligible project costs. This is in any capacity, whether they are contributing as collaborators or subcontractors. If your consortium contains more than one research organisation, this maximum will be shared between them. Funding: research organisations Total costs Business RO
  43. 43. • £6m project: one large, one medium, one small businesses + one cultural institute. An example Total Costs £6m £2.4m Large £1.8m Medium £1.2m CI £600k Small £1.2m Grant £1.2m Match £1.2m Grant £1.08m Grant £420k Grant £180k Match 50% 100% 60% 70% Total Grant: £3.9m £720k Match
  44. 44. There will be 2 stages within the competition: a written application followed by an interview. Notable Dates: • 21st May – Competition Opens • 1st August (noon) – Submission deadline • 18th-19th Sept – Interviews • 21st Sept – Successful interviewees notified Application process
  45. 45. • Programme Management for AoTF and other ISCF challenges will be an enhancement of normal Innovate UK Monitoring • Consortia will benefit from advice and guidance of UK Research and Innovation advisers to help you meet programme objectives and provide additional technical, creative or commercial expertise. • UK Research and Innovation have also commissioned Digital Catapult to undertake a programme of activity to support the Demonstrator projects. • The Catapult will facilitate collaboration and shared learning between Demonstrator projects and support a wider programme of engagement across the Creative Industries New for Audience of the Future …
  46. 46. 67 Good luck Please get in touch if you have any questions. Customer Support Services: 0300 321 4357 (Mon-Fri, 9am-5:30pm) support@innovateuk.gov.uk
  47. 47. Questions?

Notas do Editor

  • 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
  • Although Andrew has already touched on this – this funding is through innovate UK. We fund business led innovation and pride ourselves on our ROI GVA figure. Commercialisation is a the core of this – this is not about funding ‘nice to have projects, but ‘must have projects’ – that will create huge economic returns for the UK.
  • What is a demonstrator?
    Demonstrates! Not innovation in isolation. Along the supply chain. We only fund game changers, not iterations or duplications of things that already exist, please.
    Benefits whole sector not just the companies involved in it.
    I good example is the IoT Cities Demonstrator. – check out the website.
  • Here are three things you need to if you want to be successful in this comp:
    Scope Yes/No
    Eligible Yes/No
  • Must, means must! If it’s not in scope, your application will be immediately rejected – pay attention!
    We only fund game changers, not iterations or duplications of things that already exist, please.
    IP is key to ensuring that this projects will have the desired affect on the market. Our assessors will be scrutinizing this in detail.
    This is the cornerstone of the scope – it’s necessary to ensure these demonstartors have the impact we want – (Cityverve is in Manchester not Ely).
  • All of these are musts! Luckily these are are interconnected – we’re being very broad with our criteria.
    100,000 is a large audience, but this should be expected with globally renowned IP. This is across the whole of the project, and is the total of audience figures of the whole project.
    Again, only game changing projects.
    We want to see both creative and technology innovation, not just tech!
    These need to make money, despite being pre-commercial we need to know any new revenue streams.
    Scalability is important – tell us where else in sector this could be exploited.
  • These are again very broad definitions – the one thing we don’t want to do is stifle any innovation. These go hand in hand with Immerse UK definition of immersive Technology
  • You should know this…..
  • Now as you’ll see these themes are pretty broad…this isn’t about straight jacketing up – of course there will be grey areas. As well as a lot of cross-over, in fact I would imagine a great deal of the applications will cross over two or more themes…
  • 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
    Repeatable! No gimmicks or ‘one and done’, please
    Mass market, not niche + plus the commercial potential that comes with it.
  • 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.

    This is for the audiences of sporting events that aren’t actually there.
    How can we generate more value from each event? How can we increase their remote audience, and their engagement.
  • Audience propositions that curate, design, interpret or present cultural or entertainment experiences within a physical location.
    collection and object based institutions such as museums and galleries
    cultural and heritage locations
    location-based entertainment experiences such as theme parks or tours
    experiences that combine these elements

    This is all about location based immersion
    Because of the limitations of the physical location this area is harder to scale, we want to hear from great projects that can lift the whole sector.
  • Creative works and entertainment experiences with the performing arts at their core where the experience is co-created with an audience . This includes, but is not limited to, theatre, music and dance in various forms or combinations
  • Blurring the lines other areas of the CI
  • Do not pass go, do not collect £4m.
    This is basically the opposite requirements of the scope section, but worth repeating.
  • Do not pass go, do not collect £4m.
    This is basically the opposite requirements of the scope section, but worth repeating.
  • Now if you’re one of the IP rights owners, we would also expect you to only being involved and put your full support behind one bid.
  • 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.
  • 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.
  • Our CSS is great, they’ve been asked everything
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